FL Studio: Optimum R&B Mixing and Mastering Music Production | LJ OnDaTrack | Skillshare

FL Studio: Optimum R&B Mixing and Mastering Music Production

LJ OnDaTrack, RIAA Certified Gold FL Studio Instructor

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15 Lessons (3h 13m)
    • 1. RnB M&M Overview

      4:30
    • 2. What Is M&M?

      15:44
    • 3. Plugins Overview [A]

      5:05
    • 4. Plugins Overview [B]

      14:57
    • 5. Exporting FLP's Into Stems

      6:44
    • 6. Mixing Melody Stems

      9:02
    • 7. Mixing Melody Stems [Pt 2]

      16:07
    • 8. Mixing Melody Stems [Pt 3]

      23:21
    • 9. Mixing Drum Stems

      13:27
    • 10. Mixing Drum Stems [Pt 2]

      17:58
    • 11. Melody & Drum Leveling

      11:37
    • 12. Melody & Drum Leveling [Pt 2]

      11:40
    • 13. Mastering the Project

      20:23
    • 14. Mastering [Pt 2]

      10:25
    • 15. Mastering [Pt 3]

      11:56
11 students are watching this class

About This Class

P.S.A !!!

Unfortunately the *RnB M&M Stems* pack needed for this course exceeds the maximum file size (83.9MB), but I’ve listed below two options for you to get it.

Pack Link: RnB M&M Pack

Please email me at [email protected] and I will personally send it to you!

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Nothing About Your Mixing & Mastering Knowledge Is Assumed!

In fact, this course is for you if you agree with these 9 bullet points:

  • The course follows the KISS Principle: Keep It Short and Simple
  • Every Mixing or Mastering choice made is explained in clean, concise examples
  • You need help to 'hear' better, rather than me just telling you the technical methods
  • You’re able to progress through this course in a sequential manner
  • You have access to the exact stem files used in the course, so you can start putting everything you learn into practice right away.
  • Lectures are strategically organized and well-paced so you’re able to consume it easily
  • The course has practical exercises, covers the basics, and gives In-dept explanation of concepts
  • Lectures are 10-14min short and simple but packed with a lot of interesting info, so you won't die of boredom.
  • You’re able to message me and receive a response in 24hrs.

What I Guarantee You’ll Learn After Taking This Course:

  • Mixing & Mastering: What it really means. When it’s time to use it. Where you have to use it. How it can benefit you. Why it will always matter.
  • Plugins Overview: How to breakdown the plugins
  • Learn to be Comfortable with Mixing & Mastering and using Plugins
  • How to Mix and Master with 5 Major Effects from a Menu of Plugins in Minutes
  • Learn to be comfortable maneuvering in FL Studio’s Mixer Interface
  • The basics of dropping effects in your beat step-by-step
  • How to Properly Export Fruity Loop Projects (FLP’s) Into Stems
  • Organization of the tracks
  • Thoroughly Mixing R&B Melody Stems
  • How to make Micro Adjustments While Mixing and Mastering
  • Leveling Melodies and Drums Professionally
  • Mastering an R&B Project

I know there are a handful of Mixing & Mastering courses out there but believe it or not, this is the only one solely focusing on providing you complete explanations and verbally detailed examples of why decisions are made, so you’ll have the ability to apply demonstrated techniques elsewhere.

Plus, if you ever have any questions please feel free to message me or start a discussion and I will respond to you in 24hrs or less!

See You In The Course!

LJ, Peace!

Transcripts

1. RnB M&M Overview: Yo what's up with subfamily? Issue number one, FL Studio instructor, add j on the J. Welcome to the intro of my official mixing and mastering Course Series. This one is aimed towards the workflow for mixing and mastering the R&B genre. Soon, you will see a course on mixing and mastering the pop, hip-hop and rap genre. There's no one way fits all when mixing and mastering different genres. Because when the genres different, you're forced to approach, makes an investor in it differently. By approach, I mean, emotions you create, tweaking and pick an effects. But I will explain so much at that yet. Those are just a few examples of what you should expect. So keep an eye out for that because it will be worth the wait. For now. Fix your eyes on my lecture Files real quick. What you see right here is yet to be your top 14 in depth. And to the point, mixing a mastering lectures. I'll remind you later to thank yourself for investing in this course. Speaking of 14, my lectures average out to be 14 minutes in our know, ya hate long and boring lectures just as much as me. So what made it a mandatory obligation to ensure every minute you spend on each lecture is an in-depth. So the point in easy to understand learning experience. And I mean it, I can't wait for you to go through these lectures. Fam, besides the R&B em, an impact you'll get from me. Here's how each section out of these three sections will elevate your production skills. The first section titled What is mixing and mastering. On the surface, seems self-explanatory and expected. And there's some truth to that. But behind those assumptions, it's a well-thought-out section inspired by passionate students like you who stated their opinion of the idea of lectures needed in a course like this. Still, let me say one thing to sum it all up. Once you've completed this first section, you will have a clear understanding to be confident about every decision you make, one mixing and mastering and the momentum to be efficiently productive. In the next sections, I, here's where it matters most. I purposely dedicated our next section entirely the mixing. The tritone sub header, speak for themselves fan, but listen. Yeah, I'll have my permission to take full advantage in hone in on the benefits. This section will bring your production skills. On a personal level. Those benefits don't come easy in without some of them. A lot of producers will know that something is missing and wrong with their production. But know what that missing something is or how to fix the wrong. I'm speaking from 11 years of experiencing and witnessing this Pham. So from this section alone, the answer for improving your overall production skills are as follows. Number one, a better ear. You know what they say. If you can hear your production and you can make a comparison. Number two, an improved ability for sound selection. Using a lot of sounds thinking your beets will sound fool. But instead, you're actually overproducing. Number three, spontaneous production ideas. That's just a pretty way of me saying No more frequent beat blocks in personally important to me. Number for better judgment of my production skills. How you feel about your beets is as good as you'll ever be. I could elaborate on each one. But why take my word for it? If you listen this four, this is the sign you were waiting for you to take the course because you deserve to reap the benefits on your own. On our final section, we'll close it off by mastering our beat out. You can't tell but asked often lie in this section for Yoda dig through. Ya'll don't want to take any other mix and a Master's, of course after this one, because I simplified it down to three parts. Speaking, the three parts selling off will be released in the other three genres. Just like this course, I want you to play a part in the masterpiece. So definitely share your feedback before I dropped the risks. Good or bad. Constructive criticism is walk. But don't be too mean fan. I gotta solve heart. Anyways, you guys are the best. Asi, Yolanda, other side. Oh, and I almost forgot. F1, would it peace. 2. What Is M&M? : Yo what's up, family? Just another warm welcome to this course. My goal in this lecture is to clear up the confusion between mixing and mastering. I've met one-to-many producers who didn't know the true meaning of either inhabit acknowledged the differences and similarities between the two are no Yana here to be like those producers. So I made sure to cover every need to know before the end of this lecture. Cool. We can start with mixing. I'm breaking this down of 45 simple slides. Mixing is balancing the levels of each sound so that the sound has its own unique voice. In the B. Within the mix. Balancing the levels will allow yourselves to work well altogether. If anyone explains it any different, they're trying to confuse you. So run. Yeah, just like the Kashi, real quick. Let me make something clearly affair. It's a must to mix your B before anyone can take you seriously as a producer. So the fact that you guys are invested in this course already demonstrates that you take yourself serious first, truth is, a real artists will pick a below average B will a better mix rather than adult B would a whack mix? I'm gonna let that sink in. Now I consider myself a visual learner. And if you are to the neuron, look, because I've found the one sketch to demonstrate the mixing process. If you're also an auditory learner, the majority of this lecture is set up for you. So do which I'll do best. Kinesthetic learners, the next sections or your playground. So bear with us. Right now. You're looking at an orchestra. Growing up. My fourth, fifth grade year of elementary only mattered because of one trip. The Philharmonic. If it meant getting far from the school, it was a good idea to us 10-year-olds. All we had to do was not getting any referrals for the first two quarters in a year. But more than half the students didn't go. As far as I knew. The only people who didn't get referrals where teachers, man, there was no equality fan. Our only for female teachers were given permission to write. Anyone of. My dad came to pick me up early one time and they even wrote him up. Long story short. I got lucky in, went to the Philharmonic, my last year of elementary. That trip gave me a new perspective on how I view music. I didn't make the connection at the time. But the Philharmonic is just like mixing. The goal of an orchestra is to entertain, but not without each sound standing out at a high quality. Their sounds always play in harmony in a well-balanced, more importantly, volume loud instruments like bras and precautions are placed in the back. With the woodwinds in strings placed in front of them. What's not obvious is that instrument placements are not random. You'll be able to make the comparison when we're actually mixing. Also, to avoid sounds from clashing. Sections with similar ranges or timbers are positioned opposite of each other in the binaural field. For example, we got violence on the left. Trumpets to their right. Horns lift in, Cello. Sit right. If you can grasp that concept alone, you guys don't need to watch any further. But if you're like me and then get your pen and pad ready, I got more on a topic. Note that most doc sounds before you mix them will be muffled. Aka muddy, plain, repetitive, et cetera. But don't let know and tell you that muddy stock sounds are an issue. Cause I know many instructors don't emphasize at all that you're beat before you mix it is good enough. Good enough. If you tweak your sounds in the process of producing it, like smart producers do. Let me be the first, the few to say. Mixing comes down to the tweaks made beforehand. Every song is unique. So train yourself to be comfortable at tweaking every aspect of a sound before you mix. Cause when you start mixing several beats, the process won't be the same every time. I know I've taught you guys are my beat tweaking techniques and my blazing to course. I can't stress to you enough that knowing how to suite your sounds will elevate not just your mixing skills, but your skills as a growing producer. I recommend sitting on my blazon to sweeten course more than anything right now. Okay. I don't want that last line about tweaking it, get to your heads. So I'll repeat it before you start mixing. You sound individually tweak our good enough, but don't get it twisted. They're not great. They're not enhance it or full ability which affects the irrelevance of the entire B. No relevance know placement. Thank God for mixing, right? Notice, after mixing, your beat should be 99% finished. The 1% left is for mastering. Crazy, right? You gotta note it. Cuz that's me literally telling you that your mix is the most important ingredient in your b. So much that you're finished mix will be the only factor in the way of a yes or no from an ANR or artists. Here's another one. The key is to create balance between frequencies using every tool in your arsenal. The Hyder low, EQ, left to right, panning In the back frequencies, reverb. I know that's a lot of info to cram into your head, but I got you covered. Are crammed it all down into one simple statement. Listen. Your number one goal when mixing beats is to make sure every sound leaves its own imprint. The same can be said for vocals. Alright, so we're coming in on the mixing topic. Let me quickly point out the difference in process compared to mastering. Mixing is a two-step process. First, you create balance, then you create emotion. Emotions are created through effects from plugins you use. So take note of these effects, cause you will hear and see them again. Eq. Next time you hear someone say, man, this song would never get old. Thank the power of e, queuing, fine tuning each instrument or voice by making very small changes in the EQ will go a long way. Literally. We EQ, you're able to bring out the best homes from any track and have it sounded clear. We each instrument distinguishable. Panning. We've touched on panning. It's a beautiful effect because panning tracks between speakers creates a stereo image in your ears. And you're able to track with your ears exactly what's happening. Delay and reverb. We've talked about reverb. And delay is echoing compression. Compression is just an effect within the limiter. In ya know how I feel about the limiter. The limiter can literally suck the life out of your song if it's not used properly. Until I, by a third party limiter, I will continue to stay away from this talk on the middle NFL because in my experience, it puts air my sounds, making the whole track sound crowded. It's bad enough that the limiter should never be put on the master fader. Yet it automatically appears there about a fault. No worries. I will help you understand in fix those issues in his course alone. Distortion. Distortions of popular favorite. Certain sounds need to sound mean in needs and knock in. This Effect is a go-to for many producers like myself, especially free aid awaits. There's no specific order here. Fan. I used this visual example to show ya what plugins these effects come from. Keep in mind that these effects are always actively involved in the mixing process. In knowing their row cuts your learning curve by years. Okay? On a final note, here's some simple do's and don'ts to follow. Number one. Once you're done mixing, that's it, period. So take your sweet time mixing. Spend quality time with your mix. In move on. You don't revise nothing unless than elite literally tells you to go back and mix again. Number two, as a starter, do not mix in master on the same day. Back when I did, I would get so caught up trying to do it all in wood, overdose on the sauce. I mean, at 1, everything sounded soul fire. Until I heard what I did the next day. If you don't mind, you sounds clashing. They don't take my tip. Mastering is also balancing, but balancing the entire Mixed B by raising all the levels to the maximum without distorting the mix to not get confused. There is a difference between studio Mastering. In whole mastering. Studio mastering. You know, with the fancy expensive mixing boards is more phase time alignment in how the sound comes out of the speaker at different times. Mastering engineers use these effects in dynamics to balance one track at a time. So they sound good together. As a collection of songs at home mastering is volume optimization. As a quick PSA fam, know that everything we do in the mastering section of this course will be professional work in its own right. But on a studio level, these dynamics are done precisely would extreme detail. And the quality of their work doubles. Regardless which are aiming for the mastering process takes years to master, because it's really hard to get the same results using just plugins without the fancy equipment that brings out the warmth, the presence in true to life music that people want. But luckily for us, if you get a placement, labels, we usually handle the mastering part of the beat to their liking. Meaning, the only thing that Madison him in everyone else is, does your mix sound sick? And it will cause I'm LJ on a trek, boy. Now, for the sacred is course. Anything I say from here on out will refer only to at home mastering. In if I present any effects that relate to studio mastering, then that will obviously mean whatever is done in a studio applies to at home mastering. Okay. In relation to what I just mentioned, an undeniably relevant reason to have your song mastered is to get a second opinion on it. The key goal right before mastering is for someone else to listen to your mixed check. That someone else is you right here, fam, I'm hinting again. There you should master any of your work on the same day you're done mixing. Mastering engineers are a fresh pair of years in. They can catch mistakes that the mixer missed. Let me break it down some more. Once you get in tune or in the zone, we're mixing a song or two timestamps being effective. In over time, you start being able to hear the song accurately. The sad truth is, it becomes difficult to know if each mixing move you make is bringing you closer or away from the polished professional check. Mastering can fix a bad mix, but it can enhance a good one. Cuz mastering is about making broad adjustments in enhancements to the entire mix. So play it safe. Wait the next day and catch your mistakes. Just like mixing. Mastering is also a two-step process. Mastering engineers have to make the track louder and capable from playing in any speaker. Mastering will have an effect on the beat's placement and position. So it's safe to say mastering is like structure in the beat all over again. And that goes for both in studio and at home. Lastly, fan, when you're mastering, focus solely on mastering. You'll go back to mix anything. It's a simple don't. There will get you a long way. Now that I addressed mixing and mastering individually, the last thing I want to do is point out a few similarities. I believe the only way they're alike is that they can only do so much to the tracks that are given are example, don't make a poor be thinking the mixing will fix it. In. Don't mix poorly. Thinking the mastering, we'll fix it. You forgot that. It's lazy thinking fan. Now if you want to get technical, here are some valid points you've heard before. Or could a guest. Mixing balances individual tracks? Mastering balances the whole album to be in sync. Mixing is about creating balance in emotion in a song. Mastering is about making that mix sound on par with the rest of the music on the radio. But at the end of the day, it will always come down to your mix networking in pure consistency to make away. I felt that's it for this lecture. Unlike many producers, you guys know everything there is to know about mixing and mastering. Don't let no one tell you different again. Peace. 3. Plugins Overview [A]: Yo, this is an impactful lecture, not because I'm teaching it. Although that is true. It's impactful codes will be in this interface during the course of this class. And that's all the info needed for the plugin overview might play in DC and sure ya'll leave knowing every relevant piece within the mixer interface by heart. You don't need to do anything, but get the background knowledge needed for when we're actually mixing and mastering. And these next sections, if you already know a thing or two about the mixer, in only need to learn how to use the plug-ins to mix and skip this lecture and go make your mark in the next sections. If you play on stay and dually in-phase worn down. Now let's keep a goal and then the first thing you notice is the current in the master channel. Simply put, the master channel. Is these inserts right here on the right, playing at once. And right next to it. The current channel is whatever you select, whatever sound you selected, mofo, whatever sound you selected from an insert. Let me check this out. Here. I get a little cake. Put it in there. The mixer. Now you see the master channel is playing the kick and the metronome. At the same time. You'll see more examples. That is, once you reach the next sections, now the correct channel is playing only the kicks. Since it's only sound currently selected. That's all you need to learn from this portion of the mixer. Now when we open the mixer options, were able to save custom made mixes as presets under File. This goes without saying, but every producer has a certain way, they mix. In that certain way can be saved to accommodate other projects they plan on mixing. And you see, I've got a few of my own here, but that might be ideal for a course of its own. I real quick, let me put you all on game on these other features, right? If I don't cover it, and it's not that important. But if you think otherwise, hit me up about it, I'm all about adding more value for your, since there is always room for improvement for me, are not disc recording. This feature is vocal recording related. I have sessions weekly, so on here a lot. Soon, I'll be releasing the course fully covering this feature. One of my female artists view this feature right here. It's self-explanatory. It's all about your preference. I preferably like how my mixer looks. But if you're curious enough, don't hesitate to clicks on buttons. Rename in common as useful or chord. This feature may seen my peer producers and I rarely considered. I see a few teachers stressing the importance of differentiating with color, whatever it is, the section together during the mixing process. To this, that's always the time fan. I'm pro productive. So anytime putting the anything else other than finishing my beat is inefficient. Now that's my entitled opinion. So to each his own family and others. As for the others, I honestly don't want to get overwhelmed or caught up on these extra features that don't affect your ability to mix at an advanced level. But if I get enough questions about them, I'll just extend lectures for you. Okay? Okay. Cool. Now, let's run through the bottom portion that it makes it just a few features I know you need to know about. Now right here. The panning knob. If you guys knew how to use this in the channel wreck. Do you guys know the pen in the mixer? And we got our volume adjusters. I've got a whole segment dedicated Sadat along. Thank me later. All on which ought to know about armed disc recording is that it must be on while the Record button is on. This is not a recording course, but I would dedicate a whole course to recording. So you already know this feature in more would definitely be covered in debt. Now speak and, and more features are also include the arrows down here that appear with roots connected to the Master Chen. Whenever you select the cell and the audio input source. 4. Plugins Overview [B]: Yo without fan. You see I had to switch the gear up audio. Okay. Now for the part are really one shot to get hoped on. This right here is your sanctuary for mixing and mastering. The model over plugins almost start by pointing out my all-time favorite plug-ins, my lineup of frequently used plug-ins. Now, we've got delay, bank, reverb to wave shaper too. We got these right here, says Love filter in parametric EQ Q2. Man, if using these where here we're sin bro, he'd have to pray for me. We got stereo sapere, stereo enhancer, Edison effector, and last but not least, gross b. But no need for examples. You will see these put into use throughout the mixing section for sure as fit his lecture. My idea is to shine some light on each section by dropping two important details about each section you can use on any BID you're using or working on. My plan for you is simple fan. If you know where you're going, then you'll get there faster. At first glance, you see the slots or plugins for mixing. Each sound will be inserted there. And on your right, got the mix levels are here. Call it are mixed weaker. You hear me call it that because not every plugin you'll use to mix your melodies or drums will go well. For one. There is no specific plugin for a genre. It comes down to the way you mix it. It's all about the field of baby. But once you get the feel of those plugins and a flow where your sounds, the affects of some plug-ins will be too much on your sounds. And that's because the volume is by default turned all the way up. So soon. This will be your best friend. To balance out the power certain effects will have on yourselves. Alright, Let's dive in. Starting at the top. More Plugins. This is where your pre-select plugins you don't have, right here will be. Or if you bought or downloaded a third party plugins. These right here below. Or my personal pre selects are used from time to time. Now let's set some light on these nine plug-in sections. First section, control it. What do you think they named them? Think about it. If you have a controller to a game system, you can't play with it unless you variety, connected. Feel really excuse the charge my phone. So this section is here for you to connect your hardware to FL Studio to make them Master. I don't own a mixing board. So unless you do or you're an EDM DJ who likes the tweak is music live will need to be here. Delay reverb section. First of all, this section is one of my favorite sections to being. And you'll get to see why. Because I'm showing everything in the next sections. This is a two in one section. So you can't expect lists. This section right here will have your listeners, will fall off. This section will have your listeners thinking they're in a large room in nature on top of a mountain. In other vibes relating to those examples, delay is the echo, and every cell in the reverb is the dragon oversell. This section purposely correlates well my R&B mixing and mastering course, cuz reverb and delay. Plugins. Our key. If you're mixing our RMB in hip hop productions, best time to use delay is going to be order. Song is ending, adds a legendary touched to the beat. All right, oh, and convey solver is considered a reverb plug-in. Distortion section. Distortion. This word has power behind fm. This section will have your soft sounds sounding me. There is no other way to say it. It's impactful section for the Rajan. Chat beats to use these plugins right here. Use foodie fast disk and fully wave shaper. When you want more audio, eight awaits and Mofolo foe, and you want more out of your eight awaits. And electric, electric guitar melody his use those. And look. This section also comes with its own hardcore plug-in to go along with. What more can I say? Now we got the dynamics section. Dynamic is a broad term for compression. And when you're messing with compressors, you also gotta mentioned the limiter, which is another stock plug-in, NFO, or third party VST. Preferably, if you buy one. You seen any plugins entitled their resonates with what I'm saying. All that just means the impact it is session section, more forgoes section will make your sounds appear louder. This section is best used for mastering vocals. But if I'm honest, this is my red zone. Okay. How many Georgia focus on this part right here. Rho, because I might change some lives after this, check out this plug-in limiter. I have it turned off. But if it's own, you see appear in slot ten in the Master Chen for a long time. This would add air in between my sounds drama production. And since everything plays in the master channel, my whole beat would have this nasty effect that suppressed it. You might have to experience it to truly understand. So if you haven't turned this off, this is your chance. Here's the steps to remove the limiter from the mixer. Go to File. New Food template, minimal. Basic, C, same as above, but without the limiter. Another one of my favorites. Filter, fifth section, Think of an Instagram filter. You're not removing anything bad, but instead adding to the image what? Na nana, that note, that's up for debate. Anyway, this section is simply adding effects to your sounds for your beat. This section has a variety of effects. Ub or satellite. It's playing underwater. Like you're outside of where? Nightclub. Like your inside or outside of a car with the windows rolled up in, your music's playing inside of a car. What like like you're talking on the phone or even listening to an old radio. You'll find is most useful when you need to give parts of your verses some headroom art. The flanger section. This section has some similar but different underwater effects compared to the filter section. But it stands out because the plugins in this section are able to affect the sound's playing as if it's a double. You're gonna witness how important in this section is to beat fan. Leave it at depth. The gain section. This section right here is about sound definition. You just got to be careful when you're tweaking somebody's plugins alone are strong enough to make each sound overpower each other. If I'm ever going to use this section to, especially if I'm looking for that classic new-age type of vibe. Don't only plugins are messing with our stereo shaper and stereo enhancer because there are more variation in those, then the other two HOLAP, yeah, made it this far. You are luxury upon this one real quick. This preset shrinked is what I use on my producer tag. So the next time you hear it, you'll know where that came from. The miscellaneous section. For the most part. The title for the example already gives the section way miscellaneous. If you know what that means, then you know, this section is pretty special for us producers. You guys remember the effects I told you note from the previous lecture, right? Well, unlike the other sections, this miscellaneous section has a plug-in for almost all those effects. So you can literally make this your home for mixing and mastering. If you're not the type of venture. For me, my go-to in this section will always be Edison. Effector grows B and picture. You start to my boy, DOTA 1K. He really got me to tap into the effect. Check this out. Look at the bottom. Some of which you see pasture. This section right here is similar to the controller section, but functions differently. If you ever get to the point where you feel all ten slots in the mixer channel and still want to add more effects to your mix. This section right here gives you the resource to connect the VST to accustom knob outside of the original VST. The idea of being able to add unlimited effects or instruments in a single channel or slots is nothing less but extremely useful. Finally, visual, our tenth section. I think this section right here speaks for itself. This section is dedicated to FLP design in decoration. Fired a girlfriend who was a producer. She'd probably be doing this for me because I'm really big on quick and efficient workflow. So making the FLP look pretty would defeat that purpose to each his own fan. If you want to go the extra mile and show off your work, then you find this useful are recommended plugins, big clock, DB meter, spectrum in, in wave candy. Listen fan. There's so much we can do that when it comes to mixing and mastering into these sections. For me to even go through all the plugins, presets in affects men, I would have to dedicate a whole course or lecture to it. So make it easy on me. Fan in spam discourse will review saying drop more content. This aim for 24 Erdos and leave the rest up to me. Now, look down here. I'm gonna go ahead and explain this part real quick. The equalizer explains my foia. The equalizer represents the laws, the mids and the highs of the plug-ins in the slot so above are only used the equalizer when I'm mixing vocals and we'll use it to clean up the vocals are little bit more. The equalizer. It's an extra source of energy. And with great power comes great responsibilities. But seriously, if you're starting off, you're better off without it for now. There's also three lines horizontally for laws, the mids and the highs in the equalizer, that affects the frequencies of your sound. If you're taking the course where I include mixing vocals, then you will see this in action towards the end. I found, that's it for this lecture. Like I said before. I can literally go through each plugin from each section if that's what you guys are into. But none of my words will make two sets until you guys who literally on the field implementing. And for the most part, we'll be doing that throughout the course. But nothing beats your personal improvement after a good lesson. Cfa, in school, I wasn't the smartest student in certain subjects. But wait till I came back to school the next day. I'd know that lesson taught better than any of the other students in my class. And that's because I was not going back to school and select new, aka teach the teacher something new about the lesson. I said that to say this where I apply the same tactic. Or you'll get varname or courses. Again, I'll be use lighting. Use lighting. I'll be utilizing my favorite, my favorites throughout the course. That way, you guys will get a good idea of key workflows. Bit, nice time. We put all these concepts in the action c all in the next sections. Piece. 5. Exporting FLP's Into Stems: Yo was up plus up. Real quick family. This lecture is just for so, so your eyes and ears is all you need. But if you're like me, you can get a better experience following along in, pull up any random FLP and those get it. Wait for this to load o. Alright, first steps out the way. What I just pulled up is the price until a project. The first track of I'm mixing and mastering series. But before we start mixing investment is beat. Allegiance to see the importance of exporting your track in the stems. Assuming you already know how. Even if you do, I will try to watch to the end because you guys are my NFL family nervous it. Okay. First of all, water stems. Simply put, stems are each sound in a beat separated individually? Let's not get technical Now. We're not comparing stem cells. So in other words, each sound in any beam once exported is considered a step. Note this your, your three main reasons for exporting tracks in the stems are, is listed. First. Obviously to make some master you beat. Second, sending it someone after mixing and mastering, that someone could be the artists of record label. An ANR, et cetera. Mark my words. They will ask you for it. The third reason relates to the second one, meaning you need to send stems in order to collaborate will producers who were using FL, it might not have that one or two unique sounds that you implemented in your Part. B. Especially the other producers, would completely different dog. They need your steps. 2d is if they don't have that specific sound, they won't be able to hear your part to stem from. Get it. Alright fan, the beat is made, are also tweak it a little bit in the process. Now we're going to explore each individual cell. This step 2A here. The keyboard shortcut for this is control are. But I'll just do it manually. So you click File, export, listened fan. When you're exporting, I recommend you do it as a WAV file. The wave is bigger in file size plus is preferable to most in right now. It's a better option in terms of sound quality. Okay? Third step. Decide where you want to save it. I suggest creating a new folder, but leave the name of the sound the same. Fourth step fan, yeah, should be familiar with this rendering pop-up. I covered the need to knows about the render in public and my last courses. I know most of you are enrolled amount of courses. So you can always look back cuz you gotta like that. Now, all we gotta do here is simply select Wave. Already selected. In turn on split mixer checks. That's where the magic happens. Then a stem is created. If you're rendering MP3, have the split mixer off. So you will avoid your beat splitting in the steps. That's unheard of and unnecessary. Do today. Finally, before we click Start, background rendering is another start button, except you're able to kill time outside of FL Studio while you're stems are being exported. So if you ever plan on leaving the screen, background rendering, all right, that's our cue. It's time to locate the new folder we created because the stem said be there. Sorry. Alright. Now, notice these two stems in his file named current. In master. There literally the exact same thing. But I promise it's much more about this in the next section, since we have to deal with them during the mixing and mastering process, I would go ahead and drag them into playlists and sort them out in a mixer. But we'll work on that together in the next section is well, before I end this lecture, let me drop some jaws are my top three dots for you to avoid. After sending the stance. One, don't let anyone overproduce yourselves. If they're adding a lot more cells than you originally had. That'll be the epitome of it. Trust me, that beat will sound bad. To don't let anyone replaced the majority of your sounds. The beat will literally sound like you had no part in it. And three, don't let them put everything at a high volume. Debit will sound like there's too much going on in your ears, won't be able to pick each sound apart. Avoid those three things at the senior stems, and you'll be good. See you in the next clip piece. 6. Mixing Melody Stems: Yo was opus up. Welcome to the official mix in a master method. Yes, there are two ways to make semester, and you guys learned a second way in the bonus extranet is course. But this first one right here is the most preferred method across the FL Studio community. So we're going to treat it as such by using it as our primary metaphor checks in this course. Nazi mentioned, this is the most versatile imminent method. Simply because this method is not care what other door you're collaborating partners using. And you could potentially find this oversample in the process of mixing master Rifampin. Nice time to show your hadn't mid-semester the RMB genre, Specifically for pricing teletype beat for Alma, RMB produces students. I know, let's get it. Okay, so we got our exported track files. Where here? Pause the lecture real quick. Download your exported files from this lecture. That is, drag them into the FL Studio playlists. Oh, and by the way, makes sure the playlist scrollbar is fixed before releasing you stems. Or you have to move your stems up. Now, if you release your stems on the inside of the playlists, you see track one, track two, track three, etcetera. Now, if released on the outside of the playlists, you see the names of the stamps, pop-ups and show. And I decided to release it on the outside of the playlists. So let's give it a minute. So Popper, just another preference. When I mentioned these different perspectives, I do it with the intent of giving you guys more options to decide which view best fits your unique style. We now got stems or Bryson teletype be laid out in a playlist. In mixing the melodies will be our first focus. But real quick, this hits a return wreck liquid. Notice the mixing. In, delete these extra channels right here. Notice anything dragged in the playlist will pop up in the channel rack automatically as an audio clip or a sample. Yes, we can consider these. They quantify or in this case, stems, is the term we are using. Our switch this out. Reo, straight stems or audio clips or samples in and you go to unsorted. You see what I'm saying? Let us get these other way. Now our next step is to highlight or stems by double-clicking the select feature. Try not to leave any of them unhighlight it because the confusion is so not worth at York. So scroll in, double-check for a second. Also, notice how each step is not numbered. Now mostly paste them into the mixer. There'll be routed to the mixer in sorted out for you. Let's head over. Now, paste them under, insert one by clicking shift Control L. And if for any reason you accidentally paste them somewhere, other than insert one, man, you're gonna have to start the whole thing from step one. And I mean, literally starting this lecture over in a quick tip you guys. If you'd rather paste them one by one. Then after highlighting it from here, the tunnel rack, click Control L, not safe Control L, Control L. But for the sake of time, let's just avoid them. Mistake entirely, fair? Good. So I stems are in effect and ready for them, mix them. Actually, there's one more thing to do. Here. Over here, we have the current stamp and the masters do. Now. These are the exact same steps. Basically there, all these in one. The Master's theorem is simply every sound played out. And the correct stem is the last insert in the mixer you selected. Now listen guys. They don't exist. I say that because there is no use of them during the mixing and mastering process. So make sure they're muted in the channel wreck. And get out. Master. Good or better yet, just the lethal. Okay, sits. The melody stems will be are made focused on enough. Let's go ahead and differentiate them. Unlisted firm, I need you guys to take note of each melody stem we single out because they might look real, had begun a Mixin. It's getting pseudocysts or not honest not to correlates with the melodies, but a mix that with the drums. This right here is basically what I get when I hear the reason I put this melody. And here is basically one of those. I hear this a lot in basically like the Drake songs told me lanes, bison tiller, I disallow window. So when I heard this, I'm like Yo I didn't burst until affinity to so went ahead and added it in there. Hello, soft piano right here. This is dope, these crazy. When I, when I heard these, when I was making a beat on like yo I like this. I only edited because I like it. Same thing here. Take this one out. It's basically it's like a grand opening as the fin and I get out of this melody. Check is one our equate. This. This right here is a vocal sample, are correlated with the melodies because it has the same tone and it gives me the same vibe I hear from a Drake song, go back in this and it take care or not, there was the same. You'll basically get what I'm talking about. The same thing with this stem. Produce, want to stick it out? Oh, disarray here. This melody of man. This is the key component, top dog. Why? Because it sounds so good. I could literally use this melody is basically playing the whole way through. And this would sound even, this would sell good, even without everything else in there, which is drums ate away patterns. And just this alone, they would sound that good as well. But I add these melodies because I get those feelings and it just fits so well. Just wait, so you guys here, everything all together. Don't. Alright. Now that we located nine Melies to mix out, we can now take our time and have some real fun mixing these stems. Trust me. Nothing will ever come close to you as a producer. After hearing it mixed B, you'd AND created. So go ahead and make your way to Part two. Right now. Peace. 7. Mixing Melody Stems [Pt 2]: Yo what's up with this? Is it FEM? We're here now. We're about to finally mix our first few melodies. If for some ya, this is probably your first official in-depth melody mix down. So I'm height the make sure you guys get this right. Let's go and add thought about creating a mixin checklist. But a checklist, especially for mixing and mastering whenever B universal, because there's always a point of view behind it. Trust me, you're better off, so don't even waste your energy messing with it. Now, in the previous lecture, we located non melodies to mix down the views a little different on the side. But you guys already took note of them. So in the process of mixing each one, move slow fam. Now listen. If you get anything from the lecture, get this. Mixing is a marathon in your, Your finish line. I hope you guys took the time to go through the plugins overview lecture in the first section. Because if you know the ins and outs, it is in-phase known thing we need to focus on during the mixing process is the goal. In enhancing each stem. I'll get to explain what I mean in a minute. Just keep on this name. At this point, you guys know that the end goal when mixing out our beat is to have each stem Stan L. So let's start with the number one thing that gives us the leverage to make that possible in that is lowering the volume of each stem down to 60%. Now let's go in here, highlight these. When you highlight, you gotta double-click in drag in order to highlight every stamp. Because if you click it once in drag is just gonna go double-click jet. Now at 1, 2%, the stems or sound distorted. Xxx syntax, you don't look at me or young breads is the epitome of that rest in peace x. So doing this will simply prevent the stems from overpowering in competing with one another. Now, let's break these down to six. The 60 should be good. But 60% is where I'm most comfortable, is not a universal percentage. So I encourage you guys to lower or raise it based on your ear. You could adjust them later if you need to. Now, what stem we choose first really doesn't matter. But I'll personally want to mix the main sampling does beat all yours. In my opinion, mixing this first, we'll set the tone for us to mix the entire beat. I mean, it is, the key component is taken up. After hearing this. In my opinion, the stem sounds plane. If you're asking yourself how. That's just my professional opinion. Wouldn't have an inexperienced ear. So don't depend on it. Knowing how won't help you choose your plug-in. Here, meow. The best way for any producer to explain you how something sounds plane, muddy, muffled, et cetera, is to show you the aftermath in order for your to hear the difference. Okay. Now let me break now what I meant by focusing on the goal in enhancing each stem through my philosophy for mixing is played it again, recall. Okay, now the second listen convinced me that I don't want that plane blasted filling, then I believe the stem has, you know, that are you basically is overpowering or blasted. So my goal is to muffle it. The effect of me wanted to muffle the stem will raise the base, which brings us to the enhancing part, which plugin is going to enhance the stem considering my goal. See where I'm going with this. Now for messing with these plugins are no, my best bet for this step is to EQ it right here. Now I'm no, I showed you guys my favorite go-to plugins. So y'all know which one I'm recommending exactly. Parametric EQ, T2. This is how the OSI mimics this them. You can mix it the same exact way using any one of these three plug-ins in the EQ section. Yeah. It'll sound different, but the quality will remain the same. That's your town is now. So apply that to the other things we'll be mixing. Now. The focus here is the high points. We need them to support the mids in the Lowe's for our goal. So take your time and use your ears fam. Good. So now when it comes to mixing a sample like this and China muffle, it, knows when to go to the highs and to bringing this down. And we'll put this right here because I want to hear that little muffle effect. And let me get, let me show you the log difference real quick. Major differs here that let us go back to it. We will just down a little bit. Now when I'm reason why I'm bringing this down is to give this a little nudge. So basically, basically what I did here was lowered down to seven and bring it to the mid and low to get that muffle effect basically, to start the muffle. This basically enhances the mofo within, enhancing the stamp. If you get what I mean. Notice here's the difference again. Blast. Muffled this right here. It's perfect. So I'm going to leave it right here where it's at. Now by lowering number seven in bringing it to the mids. And lowering number six will muffle the stem just enough to give it that soft and subtle tone for an RD BB. Okay? Now we can say that we're done with our first sound. So you see it's not about what's wrong with the stem, simply, it's the go for it. And you can literally have several goals for a stem as far as echo fading, ruffling it, et cetera, and not know how you want to enhance it. Translation, what plug-in achieved that goal until you put the plug instead of tests. Speaking of having several goals for a stem, you at least need a plugin per goal. So avoid, please avoid adding too much effects to something clear. To make clearer. At that point, you'll be doing so much in defeating the purpose. All right, moving on to the next melody, o, before our next melody. Here's a quick tip to help you find or pick a new melody. Got to unmute this real quick. Go through your beat in, listened for the hood. Sorry about that. Yo go back. Manufacturing already. Did it. Don't be part. So from 49, so 65, This right here is the hurt. All the melodies are playing right here. Note that I gotta loop. We have a better chance. Full effect in their own. Now, let's play it. Okay, now pad one, got my attention. This right here is one of our base. It's not going to stand out. Well, what ought it? And play it again. It sounds like a struggling motor boat. Now my goal here is to have it sounded like you're standing outside the CLO for exemple, try bubbling your mouth and imitate a heartbeat. And you'll get this. Drake uses this EQ Effect in majority of his music. You're not to drink fan if you don't know it. All right. Now let's aim to smooth it out by muscling the rough and crispy part of the parametric EQ, you already notice solo to L, Okay? Now, our adjustment will be similar to the previous one, but the middle is the real focus. Now, while we're on this topic, understand that when you intend on my ruffling a sound that right there is translation for upping the base. In other words, we're making it sound full. So that it has a better chance i standing out from the pet store, like I was saying, is going to be similar. So lowering brings it emits in, put it down and get them basically a boost. But let me tell you something though. You're probably wondering, why are you doing the same adjustment from before when the mids is the focus? That is because this is a sub bass, this won't be enough. So we got to mess with these little bit to get where we want. So we're going to lower number five for o quake is QC. I'm getting more than muffle. I'm going to show you out a difference in a little bit. Little bit. Don't forget whenever you're tweaking, you gotta listen to what you're tweaking so you can see where you're going with the goal. Now let me show you what a difference. Ciudad tool blasted. Perfect. Now, certain sounds like this sub base that ate away in low string pads will sound too crispy or rough. So what are we gonna do? Muffled into smooth it out. I'm not trying to make you hungry, but imagine the sound of chewing or grow chicken compared to a crispy one. Okay, now let's go after are less than for his lecture. Next melody, the purity piano started off. This piano is satisfying. Almost to the point where it's easier to consider the cell, the whole beat on its own. So bold statement, but even went on, I said, this is still a generic sound in someone we keep ears like me could easily hear how lazy you for producing you'd be for not even attempt and a, and a little song and dance. Now, to be honest, I could easily EQ this again, but it's how we switched it out. My goal for something as soft as this piano right here. He said have a bounce between your ears. So I say we give flange, you change the sign. And I'm looking for something very similar to what underwater vibe, you know, as going through police presets to see what I'm talking about. Now for this first preset. Nope. Nope. Nope. Nope. This one reminds me often, older than classic pianos back in the day. But no, no. This one right here. This is, this gives me that underwater vibe. But it's close. It's not entirely there. But I feel there is something a little bit at though. Let's keep an open mind though. I'm gonna keep this preset right here in one. Just remember whenever you flip through presets or tweaking or ADP, keep your eye right here so you can see whatever you don't. Because the presets have names. Oh, sorry. This, this right here sounds like you're plucking the little banjo or guitar. But now UHC way o K1. This right here. This right here tells me like that underwater bye-bye was trying to catch. But I also, I also want to lower it. A little bit. About the democracy. If you can present is good. I just don't want it to sound plane. Was go back and play all these together. Watch pad one cell. So smooth, beautiful. Watch this, watch this blasted. C. You're going to hear that already on this. But those effects back on. Now that I'm here in all three of them together will bring this right here back up to 63% because I don't want that ear to ear if it 1603. So, so far. So far. That's it for this lecture. How you guys feel, who's feeling confident? You guys find anything confusing or maybe something doesn't sound the same on your end. Shoot me a message. And you Reviews. Let me know what your favorite part was. Listening Your there's a lot more to take in. So imagine if I did all that in more, in just one lecture. Alright, we got just one last melody segment to go through. See you in the next clip, your piece. 8. Mixing Melody Stems [Pt 3]: Yo was selfless up. This right here is our last segment for the five remaining stems. Ya, honestly, I already want to get to the end. We're just starting. Don't get me wrong. Do a min no rest to intersection. But I'm hyped about the outcome. I just know it's going to be sick. So get yourself some Advil tied to No, no, no. Alright. Competently, I'm going to assume you guys at this very moment are two times more confident about mixing the stamps. Or you will be at the end it is lexer. If it's the last thing I do, Pham. So let's go ahead and mix down the rest of the stamps. Let's go. So we got three stamps makes now so far, so good, loving, so far. So our first-time inline is nexus. Let me So notice that this right here is an xs piano listening all the jumps and jewels and Yaro quick, third-party VSD. Next is we'll have cells that automatically come pre-installed a fix. I'm not speaking for other producers, but that's not enough for me. So I will always double up on your fit much. We already know. C for my taste. My goal is to always make pianos like this from nixes, psycho grand piano. Because when I stop to beat, the piano just cuts off. See, I don't want that. But like a grand piano, when you put your foot on the pedal, the key you play will fade off like thing. Instead of Think. Also. Notice this piano already has a nice delay reverb effects away. Listen carefully. You'll hear that right? So basically it echoes, which is delay, and the sound fades off at the end, which is reverb. You will hear it in a second. You heard that right? Delay and reverb yet I'd rather it not stop instantly. I still want it to drift off for a smooth Bryson survive even after I many least opt to be fam, yeah, me on this. Next is heads it's own reverb within its stem already. And I plan on doubling up on the effect by adding a reverb, speaking to noticing, check out this them like right next to it. Let's take it out. First. I gotta go here because it plays F the words. Boom. Omar thought I was so young, play it again. Listen carefully. Is the exact same thing slightly different, but very identical. We can agree that this right here complements the first ones, so well, let me show you something. I'm a play both of whom. You're gonna play back the back. So you can see what I'm talking about. See what I mean. The only difference here is that the second one plays in a higher octave, but I have the same goal in mind. So I say we mix them both simultaneously. No plug-ins. First, we gotta go here. All right. Surprisingly, a lot of producers don't use reverb and delay in their R&B bees. But we do Pham, cause we're the new wave. Okay, I've got another point to make. Remember when I said avoid adding too much effects to something clear, to make it clear. Stacking for, for lack of better term refers to that. If you EQ, the difference here were not dequeuing, but we're amplifying what's already there. Now if you feel like the sound is good enough with the effect that it comes with, then I don't recommend using this plug-in. If it ain't broke. Don't fix it. But there's always room for improvement. Alright, so let's mess with the time knob and find an effect that's going to echo the ending of both stems. There's duties. So, so now we're in the time knob. Remember whenever you're tweaking or removed or oversight, whenever you're maneuvering. Keep your eye here so you know where you're going and what you're doing now is I'm trying to get this on, delay on. I usually go by tools when it comes to this time right here. Right now, it's at three. My mouse right here, you see it's a three. We need the time knob at a level where the echo effect isn't sync. Now keep on listening, you know, like I said, I usually go by tools. You see what I'm talking about it? Let me show you your die, right? It's kind of think a little bit and let's try four. Let's try number six CFOs. It's kind of, you see the thing, the thing about it is like it's in-sync, like its own B, but it's not entirely there yet. Let me keep going low. Higher is try number a few. You know, a is starting to become a universal timing for me. What has come to this effect by here? My tagline is B could even vouch for this. But yeah, that works for me. Well, almost right now, D effect is overpowering the melody a little bit. So I'll minority down real quick. You see how a drifted off? Des exactly what I was looking for. Okay. Quick practice tests before we mix down next is three. We did agree that next is two is the exact same stem plate in a different octave, right? So I want you guys to mimic what we just did on annexes to next is to literally the exact same thing. Now, for all my creative students, y'know, we all are. I don't have a concrete name for you yet, so I need your help on that. But if you'd like to think, we're step outside the box, consider yourself warned about creatives. Anyways, feel free to hit to the miscellaneous section in use the plugin effect there instead is the next similar thing to the foodie delay bake. This is your time to shine baby. Go be different. I don't wait on me. You got this. Let's go over well, yeah. No. For model differ from one another. Okay. So why does edited 40 delay bank on Nexus to? Now let's hear the outcome. They know these two right now. They're actually complementing or previous things. Looking at I stopped the whole be interphase stayed alive. Man, the outcome is definitely nice. But these pianos wouldn't be complete without me, edema signature plugin. I literally use this plugin on almost every piano because d affects just don't compare to anything else. Okay. So on top of eco will be using another one of my favorites, fruity stereo shaper. My second goal is still the same. I'm still pushing for that grand piano vibe. So this will only amplify my cause. Alright, now let's take a quick listen for ideal effect. Whenever I get in this via C, I don't really tweak anything here. Presets. Now, you see this right here is my favorite effect on all of them today, like the old grand piano type five. This sounds lovely to mean. Ok, same as last time fam, I need jaw to mimic this effect on xs tool as well. Creators listen up when you're done, if you want to add a little more drip on these two stems, I recommend slap into 40, revert to one. Once you mix it out. The outcome in effect, should sound like you're screaming from a mountain or belted the basketball at an indoor gym. So I'll go through it that for real, for real. Definitely reach out and explain to me what the outcome actually sounds like. Alright, let's get it. Links us to meet that effect. You already know what to do. Boom, there's go. For things like what I've got. Perfect. Now let's see what he's telling. The cells beautiful. So for ok, so obviously, next is three or third piano. But I gotta be honest, it's all fair. We really don't need to do anything to his melody on its own. This stem right here is a rule care package. It flows so smoothly. But squared. Sorry. Let me go over here will cook. For the sake of not being a lazy producer. Here's our options. Based off what we already used. We can add a little reverb, EQ flanger and some delayed sadness. Now, my goal is to add the fully revert to Ani, that little smooth fade off. The delay. What I'm doing, revert to mofo. Yeah. We gotta keep that in mind. We're mixing a type beat form, but the melody isn't his biggest preference. Still, we gotta be consistent and make the melody matches persona. Yep, smooth. Now let's get to it. We're in fully reverb. Don't mine all of this right here. I just go through the preset and get that vibe that I want. Mostly. Now at the same time, this stem just doubled up and power. So let's level it down a little bit. So it 50%. Okay, now we're done with this one. Anymore effects to it would be a risk. Not as CEO out. They all sound like just see what I'm saying. I'm really filling How To stems keep drifting even after the beat has been stopped. And I think the only stems left is our vocal samples. But first, it's time we unlock the hook, or there would be nothing stopping the mixed melodies from plane over these vocals. Now notice this. No, what am I doing? Okay. 73 to yeah, so, yeah. Yeah, so from 73 to 97 is our vocal samples. Now let's mix out the first one. I grow. Starting off. I don't like how does vocals desktops incidently? You're there right? Already know I don't like that. So I guess what I'm gonna do exactly drifted. There seems to be the dean for us, but it's OK. A, B like that. Sometimes too much of a good thing. It's sometimes a good thing in the world of mixing. Hey, listen, do not quote me, don't quote me. All right. So let's bring back that 40 reverb. Hello. Would revert to for that. So does doubled. You heard that, right? It is doubled. Look, already know I don't want it to overpower anything. So we might also need it's her net noon to going oh, we gotta play it a little bit so you could see where we're going. Remember, keep your eye here. Turn it down to 26%. Another, I don't respond as dope. Twenty-six percent is perfect. Alright. Now moving on to the second to last him going. Okay, we can pretty much leave this one alone completely. Wait a minute now, wait, hold on. Proton were not being lazy firm. I call it like a year. So I wouldn't recommend adding anything on this one right here because they're already fades off. It already gives off that Bryce involved. Ok. Now our last stem, ya, pop star two. Although the vocals already tweaked, I'm not filling their planes zone. Plus this sound is obviously a little too muddy. So my goal is to add a little twist to it. Now, let's end this with fully flanger. Where in order to do this fine and presets which are these curves, are like this effect by here. But let me search for something. On Google. I like how it drifts off the wagon. Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh. This one's nice. Way Western name and I press setup. Just wait, hold on. The beautiful. Now we can lower this down to around 44% on. Beautiful doesn't overpower anything. On a last note. We can also add the Fourier revert to know, I know your thought air coming off the person for smooth Sal, we still want it to be smooth. Bryce and type of vibe. So from the river to where you add bone. Okay, now let's do this. Okay. Let's bring that down just a little bit. About 454545470 to 50 to seven. All right. That should do it. Is to again, masterpiece. Just, just listen to it. Let us see how all of them sound out. At one where you at go and visit and see how they, Alessandra, si, Not even a minute. Then you can just here from this example where I hear no sound is competing. You should be able to sleep the Humanities Now, there's subtle, not even trying to compete or interrupt each other. Now, officially known what to aim for anya mixes. Let's play it one more time for our final mix out says that on our next journey is mixing out these drugs. But listen, Pfam B I had now mixer like possess robots in no time. But on a serious note, majority of ya know how detailed are can be. If I can't release a course for you guys that cover everything you're looking for. On the track they instructed from our courses down to my lectures. Be critiqued. I say back to you guys, the support to release this course was so. So listen phantom, spend that email because I can't wait to hear your mixed are beads on that note firm. If there's anything at all that I didn't get around to heavy wood, a message about it. The mix can only get better from year. A, you know, mixing up the germs is our next move. So let's make a habit. Cl The next section for peace. 9. Mixing Drum Stems: Eo Wilson is the same thing. Different section. I know you guys enjoyed the outcome of mixing out the melody stamps. Now mixing up these drums is our next journey and the mixing phase, there's a few things I want you guys to take note of before we start though. This goes without saying, but mixing drums is no different from mixing melodies will still be in the mixer and using the same plugins menu. In fact, let me be the first to prove to you that it's actually easier than mixing the melodies. Lastly, I mostly mix the filter sounds from the jumps. Philosopher's by my definition, or the basic drums, like the high hats to perks, snares, and eight awaits. Sometimes. Think of those as supporters. So obviously they maintain the momentum o, and make sure you have headphones on fan. Because when it comes to mixing up these germs, it's a must summation, a knock. So hearing the difference is crucial as any real Bryce until a fan in, they'll tell you. Bryson takes his drums very seriously. And this effect, all his songs can vouch for that trap. So true to self are the epitome of that. Show me the drums in his beats create the theme every song. So to enhance the theme of this type beak, no drums can go and not a matter of fact, here's a quick tip for mixing all your drums in any beat. Knock, kicks in snares. That'll be our one and only go for this section. And the rest would be a matter of knowing the right plug-ins to get the job done, which I'll know better than anyone else that would you mess around with the plugins outside of learning for me, you gain a lot more knowledge from your own trial and tribulation. Alright, now enough said, let's get it. So first we'll start off by muting all the nine mixed melodies before mixing out these nine jobs. So what we're gonna do first is turn on all of these here in the mixer playlists. And let's get the word out of these on here as well. First, the potassium because it's already done, so to say a nine. Okay, those are the NIH Melies. So now let's listen to the first verse and see what's drums templates first. With these joints actually played first but less good aloneness and with the way the first Burns drops. All right, so, so right here, the first verse starts right here and 17. So the hi-hat wrote, he's our first victim. This height right here is fine just the way it is because it's already tweaked out. Who does less work for us producers to be honest. So really raising or lowering the volume of the theme is the most we have to do. What we will have to give it a name. So the goal here is to have the hi-hat circulate through your headphones or speakers. You guys get actually either use this or this. If you watched the plugins overview that you know exactly what I mean as you choice fan. Now let's get to this. Operates on the flipping these little presets. And then we're going to see which one. Now. This one's crazy. I'm not gonna lie like this one. But if they're going to QuickBot and when it goes only for goals smooth like the breath and teletype beat filming. This all sounds good too, but this one certainly is too slow. I know you guys are human. The differences, right? When you're here, these differences just take your time in as you're hearing these differences. You will get to know some of them. I like this one right here. Is I'm listening and trying to get the drip. This one pretty much. Yeah. So this one right here, ambience, this one does it for me as far as what I was aiming for. Alright, next up, the waves near 46. My first impression of this SNR, that is pretty basic. Guess what it should be doing. Ya'll remember what I said about this Nero's earlier, right? Well, that's all you need to worry about. I'm basically aiming to get this DEM to sound clean, but I'd be talking forever if I try to explain it to you. So is best I demonstrate parametric EQ and let me say you want to talk about, so as I'm in here, as the SNR is playing, right, you see where where your highlights brighter, right? Let me take number seven down. Let me raise number six up real quick. You see as I was raising number six, the color is brightening up. Is if you see over here, it doesn't light up, then what? Put it back over here. You actually could hear the difference too, if you listen closely. Now let me go here to the lows. I gotta support that a little bit to basically get the sound, to get that enhancement that I'm looking for. And if there's no frequency in the area like the mids right now is no use for media. Squeaky. Alright, now let me show you a before and after real quick to get my point across. When I say that this has to knock. Let me show you. So so now it's on. You see Audi bright lights are on at the certain spots that I'm aiming for, right? No. Asked is why is this you see I write keep your eyes right there. This is what it off. Look at that. That's how you know, it's an argument. Now, head back to the playlist. This is something where here they, you guys should be familiar with already. Now let's look for basically all the drums. First, MAF out your first live on solo. Back to the places. Ok. 25. This is where this is where all the drums playing writer. From 25 to 25, so 49. This is the first, first bottle way self-explanatory, right? Alright, our next drum is the wave kicked three, keyword kick. They'll know what to do right? Then make it happen. Don't wait on me. I need you to pause the lecture right now in use fully parametric EQ to unmix it. Before I do. Who's up for the challenge? Ha, who's up for it? Also, keep in mind that this right here is the kick. The kick, which means that this is the sound there. So most likely not the hardest. People expect to hear it. It's one of the strong components because this right here is the cell that causes this spins the second before to beat drops, load, Listen, I know a hype it up, but it's no pressure. Just use a producer instincts on this. I, Now let's get it into your editing. Something going on here. So now I'm gonna do is grab my high points. I'm going to set level. Yeah. I raised them into one. It's backing up here. All right. Now, let's see if our knocks fetus kick sound the same. Now, parametric EQ off, so you can see what he's comes in. You see it right here, right now. Turned in effect back on. Boom. It just upped a little bit. Also feel like the high hats are a little too overpowered by the jobs. As you see there right here, or right here. Drama, drama here, even though it's a low inherits, I feel feel like it overcrowded. So we'll have to even that out. There's got to be parametric EQ. So now let me go ahead here. An integer raise the volume. And another thing Tool, whenever you raise the volume, also in parametric EQ, the spots light up brighter as well. So they get to raise, let's say. So let's say if this gets lit up brighter and look at that, I just turned it down, is not lighting up as much. Now bomb something you'll get used to VR. Ok. Now we know these mixed algorithms will be nothing but real quick. Before we get to make up the rest. No, I said this a few times, even in my last courses, but I'll just say one last time you're, cuz this statement right here stands the test of time. Listen your Dwell. I'm able to pick out these plugins for the cells is majority at a time based off the vibe or filling I want for the sound. It doesn't matter if you use the same plug-in too much. You can use the same plugin just as I do at times. What a purpose in mind? Ask yourself, what emotion am I creating and what plugins or plugin supports the cause. So stay open-minded in test.js plugins every chance you give him. That's my rent and that's it for this lecture. See you in the next clip piece. 10. Mixing Drum Stems [Pt 2]: Yo what's up with up? We're left with far more drums to max out. The last lecture was affair a warm-up for you to know what to expect on his final lecture. So let's pick up right where we left off. On the left I remember we raise the volume of the high heads from the parametric EQ so far when we've park 38. And it's a philosophic. So this sound is already good because, you know, as tweet out right here, I just want to add some type of twist to it. Besides knocking it. I honestly don't have a direct goal for the ideal affect SMI here. So bear with me, are going to do a law. And a lot twists. Citizen. In this plug-in right here, as you can see at the bottom, it contains a lot of effects in one. And there's a lot of trial and error. But you gotta get through when surfing through this plugin right here. So bear with me here. Let's do this. See I write, take its course in lo-fi. This plug-in right here is dope, is crazy. Flanger and you look at that, you could, you could bypass it so that you like when you click the bypass, you basically the effect will play regularly. But unless you click in move around, death when you get the effect of so when you turn it off, you'll get the effect right away immediately, I will quit. Your Herder, Right? He turned his bypass off. One crazy isn't doing it on the filter. Here. We go. You won't be able to see the wave frequencies. So this forces you to misinformed. Basically got to see where you want it. You'll miss them through in order to get the feel. The little blue. Yo like crazy. Yo this plug-in right here has forced me to be a perfectionist or no fear that I work for. Does the federal sounds nice, right? But not all want to work with that little effect like that. So let's put a good idea. So here, the effect is overpowering the stone. So you know, we need to do you gotta kinda lower this down a little bit. Lower to I don't want it to lower down to about 73. That's pretty good. Yeah. So here's the best way for me to explain what I just did. Play any song. Hold the speaker of your phone to your mouth in limp, think the word well, repeatedly. You'll hear the filter effect that I can't exactly explain. It's an exciting true. So try not to get caught up. Your wave per one is then not tomorrow. Now, this is another cell that sounds good on its own. Now this is another sound that sounds good on its own. Not only is it tweaked out, but also it has its own drift. So if we want that fill in, the last will be doubled enough on that effect. Yes, documentarian like that effect, we could produce smooth. Now before we move on this level, the effect down just a little bit. Dope sixty-five percent is good. And it's out mixed Johns and see what's up high sounds altogether. All right, now let's move to the next famine. Weight part 12. Take a close listen fam. I'm telling you it's wiggling, makes up for mostly a mix. So of course, you drums won't need much work. This sound already comes with a pre-installed or cope with flows. Why? Mofo? Like I was saying, it flows vine, Blondie side effects. I remember as you keep your eyes here so you know what you're doing. And I usually go by, so follow here. So I know I said three, let's go to two. It's given me so much of the vibe was tweet before. This was definitely is not all that straightforward. Jacket. Definitely work with this. Drift to dope. Alright, so four works best with this time around. Let's also lower this down because we wanted to overpowering the above 50, 50% percent, it should be good. You don't need this echo overpowering the stem. But most importantly, any other drums since we double up on analyse the hardy, awesome. Okay, so while listening to the mixed out drums, I made the adjustment to 12 and perk one. And I did that purposely to say this. We not only hear me talking and explaining anything, it's rare, but at that point, I'm purposely giving you guys a chance to improve your ears skills. So catch these random moments in the lecture and do not miss the opportunity to listen by ear. Speaking of listening by here, these two sounds, pairs, 30 Emperors, dirty number to that playlist to see where they go. Alright? So yeah, these two hi-hats, if you listen to them closely, you will also agree that they're playing in their part of the team on the rise until the jobs. So my point is simple, don't underestimate or overlooked the effect that we can eat cell has only be firmly before you even consider mixing while producing this b onto my team in tweaked accordingly. All right, now grab our stem. Based, ate away the melody hybrid. Hands down, my favorite sound of all time. What's not to like? It's loud. It's unique and universal. So you know, I had saved the best for last now incidence I'm mixing up my favorite cell. You all know are going to use my favorite plug in a breathe and knock out at a bigger cell. And the key is to have the eight away not going to be doing the kick snare. You know what I mean? You know the sandwich it meatless, go at. Cool. So now just like any other plug-in, just like any other own sound, if there's nothing going on over there with the, what is it doing over here? So guess what? My brain does seven, bring it to the limits a little bit. Then boom, get that muffin. Now, what I'm going to turn this up because I want it to not he's like I said, frequencies at that's what I'm going to give it a little dome. We got the volume odd, so it's going to not. And we got the frequencies where it's going to knock at o. Now, let's hear how this sounds. Are you with everything else? So right there, I like Yehuda. Eight awake is not overpower the other drugs yet. It's like a soup. Obviously, pricing needs to create a hit on this will give us all the credit for it right here to go check us out. And it was right here at best is P without its weak, right. Was this. God as the highest peak? Look at that. Dumps, but it doesn't overpower. That's how you want your drums every other sound ago. Alright, that's it for the drum section. We're officially done with mics out the price until a beat. As a reminder, definitely, definitely mess around which plugins ya. And know for a fact, no instructor or YouTube or producer, et cetera, will stress the insight that I know. Yeah, we'll be able to grasp from going through your own Trollope tribulation process. You got nothing to lose in a lot to gain. On that note, our new journey is mastering the project. Yo look how far we then came. Brown, think are ready for that yet fan. If you disagree, See me in the next section in pigs. 11. Melody & Drum Leveling: Yo with SAP was up. I'm hyped to teach all the levelling part of the mixing process. I thought about leveling it with simultaneously while mixing the melodies and drums. But it's so important that I had to turn it to its own legs for your leveling your stance is let me explain yellow that these sounds are in sync, but they're not in sync to the fullest. Because even with all these mix sounds globally, 60%, you are still here a few cells to be trying to interfere with the goal of enhancing the whole B to sound smooth. Honestly, I believe this to be one of the best practices for your ears because it'll force you to level each sound as closely utopic. Alright, now let's go ahead and start by listening to the mixed, upbeat and selectively level each one on a personal level. Let's do this. First on salaries, then go to the play. This same thing. Like I said, all the sounds are as 16 can well MQTT to where every sound plane is in sync with one another. For example, next is three right here. It still sounds a little louder than the other memories. Now let's go ahead and work on this. Oh, down just a little bit because it sounds a little too long ago. I'm not sure, but that's going to turn into Argentina. They just kinda go where it said, I like where it's at. So that was good, was playlists. Cool. So right here, now I got a better focus on the first few sounds at the beginning of a beat. Go to the mixer. Now my thought process for leveling is simple fail. Now next zone, you felt, remember what I said about this term right here early in the course, the new agree to leave this stemmer here is it's any cell we decide to leave at 60, means it's not interfering at all. But that's not to say they won't interfere after everything else is lovable. Okay. So had one kind of raise this up just a little bit because it isn't enough. Just enough. 1689 is the up a little bit so you can hear and feel that base, this right here is the base ya especially for Bryce until this is a must that we raise its impact yacht. Trust me, I've heard enough Bryson soda music just to know this offer memory. So now look at that here to base coming in. Alright, so now for part one, it's a filler sound in. It isn't play a main factor into beat to beat out loud. So we won't do well this down a little bit, just a little bit on three. I'm looping. On five. You're cautioning. Yeah, you see it's subtle. It's like it's a fairly sound, so it's straight. Now, park 12. But this down a little bit, the same thing Philipson on. Notice that just a little bit. And I came to that because it's kind of a filler for this narrative. So for me, threefold, three should be good. Alright, so now let's go to hear the first part of that be. And you have a chance to see as perfect. All right, so this right here that I'm highlighting is the first half first verse. So from basically which I got from 17, 33% of donors. Alright, so now let's see what's up with or yours. So I really see the thing is with o. It's not for it being the key component is didn't really, it didn't really doesn't really come off allied isn't coming your face. So that sounds a little too long for our main components. So that's why we had to raise it a little bit. Review listening closely for more than three we're talking about. Now. Next, regard to kick. Let's put his gateway here. Ever forget with the kick means it is B. Where the caveat here or here. Or yes, you can make sure it doesn't clear down so much. Seventy-five percent. Now let's see, we're at that now. Always got to knock the arts. All right, now let me mention this, Fiona, while leveling, you got to sustain your P. In this case, we've got to make sure to drums are knocking a, keep the melodies smooth. Simply put, long as you're not hitting that red mark. Now let me show you as long as you're not hitting their reservoir here and the top three here, Orange County area for the master. You could dr. The master when it comes to it because it's the commands basically all relief from would be loud in that earlier. So they kick me in the loudest. That's cool. But its parts anything in years. Now. Oh, void the red mark. Anytime here. So as far as where the mixes are, there's less to worry about. It. It's for the red mark. That's a red flag for clipping. If you're clipping, you create a bad mix. You should be able to look at your Mixed B without it looking like the beat is peaking. But some headphones and you will feel that mix. So next sound we got is got a lower this down. Just a little bit of kind of knocking little bit drones. What can overpower any other families wanting to sit between and answer them? Now that's a lot better from how loud it was. Sometimes the effects added will volumes that are still being worked at a perfect creativity that touch it means no blend sound and is moved here. 46. Do I even need to explain why? Let's get to work. We'll put xlab right there, right there. You check that out. All right, from there, there's a part two when free after this lecture. Like I said, this right here is good practice. But the secret is actually going through the failures of levelling. So make all the mistakes you need to make now. Alright, now take some time. Let me know how I feel about this section because I will be releasing other genres of mixing and mastering and would like to know if leveling simultaneously is a better approach for some yo piece. 12. Melody & Drum Leveling [Pt 2]: We have nine stems left to level up. And Oh yeah, remember me saying mixing is 99% of the beak completion. So after this lecture, master in it would be the 1% is jump right to it Fan. See if this regular. See, I can see the space straight away, but I kept here at impact. So we're gonna do is raised to 65% and that she would, AoA is interesting. Okay. If not, keep a better no. Check this out. Even even after leveling it. Visually, we kept the eight away not NACA between the center and the kid. Check this out. So you don't talk about a favorite microwave right here. You pick your favorite straightaway. Perfect. Than what I just did my first verse. Three For a little bit more. All right, so we can leave that liquid at 60%, but we can also lowered. So it's not in the way the rest of the sea run smooth is good. But let's turn it down a little bit. Narrow. That down to about 656% percent should be. Now, next, so we got is only rarely given them a booth to Folly behind our girls. They're both samples. Basically here. You're both samples. But I grow is covering an overpowering anyway. So what we're gonna do, you'd be evenly put up. Raise it up just a tiny bit. Firmly. Botnets, perfect C, they align perfectly next to each other, must be 0. So root. Well theta, right? I analyse pledgers learning to get this part, the rest of the first verse for the remaining sounds. Let's get to it. For this particular dish right here. Right here. We got a lower this just a little bit because it sounds like is trying to be the main factor. That can happen. To be the main factor is causing it to crash a little with the other sounds. Clear down to just store it as a question of materials, the better way to make sure that your question they were just a little interview. Your brand. Okay, see, as I mentioned, anything under 50% is hard to hear. But we mixed this sound so well, the defect doesn't apply. So 33496. And this right here is the first book to teach. No, we do those better. Focus is Latin for swings back and you mix them. Now, these are the Hook felt that robot and local. So it's key to have the main factors of that section step forward to outfit a B. For example. The next is to write these two right here. We'll get a better idea once we raise both at ease. Mostly what I'm talking about. So 30 knots and I don't want to either coloring. So we moved to plus 68% should be good, rather fruitful to everything else. There I'd like go out and brought a bigger mystery. Okay. Feet. What I just did here, I took a step back and listen for the impact and that could see that next is two needs to be lowered just by a little bit and they run smooth. But It's overpowering certain phones now for more than just bringing forward. So we can get a good grades go down. So for a little bit, just so we could match someone out there so you see what a mess, right? Watch where those people from. Both. Now the other sounds have a better chance if you pay a close attention to its twin. Next is, we're going to do like I said. Boom. Same level. They're rocky Norm explained level. And last but not least, the PRT 3030. Number two, they're perfectly leveled where they're at and they're in harmony with the other level of firms. Check them out, if you will. Here. This May 1 seem like you've hired than the other one, but they're already leveled and tweak so well. Debit equity goes to difference and enough what else? Perfectly. Good old me. Very proudly offered primitives for me. Now, there is no word for the level that is B is now at. Alright, fair, I'm now where at the end of this lecture. And I want to share a few last words which are about Lebanon. There's hits out there, just like this, be viral hits to the differences, those beats were only Tweet and kept that 60%, for example, without ever being mixed, level or even mastered. But listen, yeah, unless there's some type of marketing strategy, don't ever settle for debt without adding any effort to your leveling skills. Especially if you're going to rely on your ears being the driving force to your unique sound. I'll see you on in the mastering section piece. 13. Mastering the Project: Yo was up Pham. Welcome to the 1% left of our journey is a new day for me, may initially be for you too, because we don't mix the master on the same day. Let me also add that as simple as that break down these lectures. Are nodes a lot process still. After some time, it will all be second nature to you. Beyond all that already. Always remember, just like mixing, mastering is not a recipe you follow and it works. But a thing of feeling, intuition in knowing from experience what is needed. Truth is, there's no way to organize your structure what we're about to do chronologically. I did assume ER knew that as well. Just not I mentioned you also can't forget that this is at home mastering at its finest. We might not have that fancy mixing studio, but the professional process of mastering still applies. I only speak from experience fan. If you had the opportunity to get a placement, labels will use its fancy studios to do its own on master you be. So double down on perfecting your mix. Our new goal is to enhance the structure of this B. So let's get it. Since we're master and now I want to quickly point out that every effect we lay down will be from the master channel, which will easily lay their effect on the entire beat as an automation clip. Hence, why it's called the master channel. First step is to carefully listen to our mixed out B. Let me go ahead and loop these sounds real quick. We need to figure out where adding phasors drops. Tops, starters compressed in filter delay, reverb, et cetera, will fit best. Let's go ahead and take 20-20-20 by 20202022 today. The attention to detail, beginning with equipment given c, Well, we want to add you've effects averaging either. Sometimes I'll manually manipulate the beat to get ideals. Teaching content in time. Delta t t0 to t1 to t2, t1 to t2 to t1, t2, t1, t2 to t1, to t2. For the sake of time, I'll listen to the entire B on my own. And I think you guys should do the same thing while you're at it. Pay close attention to how you feel about this process. For example, if you're feeling stuck or confused, overwhelmed, or even hyped, et cetera. Point is, I don't want to just learn how to master a mixed beat in this lecture. To this day are still embrace my confusions in moments are fully don't understand something. So no matter what it is, embrace it fan. So I decided where I wanted to add the first effect. So our next step is to create a marker for data. What we're gonna do Control T. Rename phasor. I added phasor at 13 simply because it's the beginning of beat. You gotta hear. And like it's a song. Visits in a mixer. Makes sure the master channel is selected. Or times when it comes to lean your effects, they only in the playlists. Plugins mean you face. So what I'm looking for here is another underwater trip. Let's take it out. Prefix. This was crazy or not. This really sounds like underwater but dislike, commit too much. Adi. Oh, hold on. Our last step is to create an automation clip which will appear in a playlist for us this week. But you gotta right-click right here on the effect volume to create automation clip. Now once you're here to not get confused, keep your automation clip at the bottom of the stamps. If you have any empty slots, it will always automatically appear there first in empty slots. So we're gonna do, go down, don't know, known, separated away from the stem so nothing gets confused. Now, we're going to have to keep right-clicking to tweak the clip. Go ahead. Right. See what I'm saying is you right-click anywhere in the clip, you get a tweet. I'm going to give you a few pointers to show ya what's possible. Ok. This right here is where the effect would drop. Basically where I created the marker for it. And the rest lowered means it's turned off. Get Fraser will only play do before bars that are p. Now let's check it out again. This other tweak right here will actually meet these other three graduate, might actually play out better. And a signal. This what are been the net. I'll be exercising difference bits like this throughout this section. So people too like that right there is our first mastering tweak on this beat. Keep that same energy and go after another. Oh, no, what did I do? My fault? Yeah. Okay. So right here I started to pick up and add another phase of drip right here. So what I'm gonna do. 3d, which is going to create one of the same tweaks. This time around. This time around. We called a beat, just created a transition to the other half of the first. Alright, so let's keep it moving. Ok, so right here at 40, you know what it is? Let's go ahead and do this slice tool. Right here. Go all we do, 41. Make sure we don't miss anything. Alright, cool. Now, click back here so that nothing goes and gets chopped up other than this little part into to be, right-click it to remove. It'll wait to all that. I grow. Gotta keep that here though. Sample all yours. Take that, leave it there. Muffle. Take this out and see what has happened. We just gave the sample it old spotlight for the crazy beat drum military that again. And mastering is not stop. Yeah. Ok. Let's recreate that very first tweak again, but with a twist to it. Yeah, we know what to do. Try wannabes. Switch. Science is colonial. Experiment with different tweaks you see or hear your favorite songs. Now we already did that over this. You have options for days, you don't have to mess around with the tweet. We need to create a look markers were a challenge on pause the lecture, it figure out where Ed look marker. Towards the end. I'll go back and edit it, see if you got it right. All right, let's move on. We then take into effect, there could be some really special character right here. Make sure you got this selected. So what I'm looking for is a university effect. Every producer I know in their grandmas used this because this is mini goals. You can never go wrong with this right here is preferred for towns I go through this forward. Maggie prefers, instead of doing that vector right over here, drug preferred. Oh, don't disappear. When we do that, let's go ahead and create a automatically. Remember, right-click automation, clear. Playlists are willing to put it down. Also want you to notice something you might find very helpful as well. See you selected a spot and playlist, it's week out. But when you come back to its Wiki, you forgot where it was. Notice these great little triangle here. So, but it's mandatory right. Now with that said, let's go right-click. You know, we got to start off by meeting where actually doesn't start. So remember right-clicking you. Where does it start? Here? Same thing at the back to, to forget, go right here. To see or hear. Is going. Playback real quick. Give me some spatial quick. Oh, before I forget Moody's or add a bookmark. Alright, so if you edit it right there at number 49, you want step again. We're just getting started. But we will stop the lecture right here and taken the effects we just added. Mastering. Go naturally. Teach you how to be spontaneous, which a beats. That's what it's all about sometimes. And I know I'm not the only producer you guys are learning from. And that's good name depending on who it is. But here's food for thought. Fan. Good artists copy, great artists steal. Not literally. You just have to be inspired by the workflow of other producers. Style is long as whatever you're quote unquote, stealing fits your style to best the producer secrets of developing a unique sound. See you in the next clip piece. 14. Mastering [Pt 2]: Okay, so you'll know what to expect now. Just be inspired van, no need for me to say, let's pick up right where we left off. Let's get it over 6060 where you were. Is it a mixer? Makes it? Is this good? Or I want to start off by introducing TR, my all time favorite VST in a mixer. Yup. I know I've said fully parametric EQ T2, and that was the truth. Until I mentioned gross B equals B. There's a lot that could be done here. Phi1 palm, let it speak for itself, is getting this BST right here brings a lot to the table. You'll see right here. This is exactly what I was looking for. It's a playlist and tweak this baby up. Automation clip playlists. Boom, OUS. Job right here at o k. Now with the rest of this space right here, you know what we do with that? Drop. Let's go here. Lets you to damage it real quick. Notice that I didn't add a marker for this tweak where here I was doing earlier for the sake of being organized. Don't get used to it. Or you'll be relying. What's, you know what in where you've tweaked, you will feel the need. S1 at Beck. Show. Harder than I thought. Okay, I got to know the idea. Let me call your worker. Control T. Alright. This part of the beat is still the hook and I played on reversing in order to more Beck into the verse. Goes at a mixer, makes we've got these right. Now for this idea, we're gonna Negroes beat again where we add bone and we're looking for something that fits the idea that I just mentioned. Let's go. Got it. Simple, but effective. Let's do this. Right? Do you, Kay, so from 64 to 65 is where the effect will take place. Let's check it out. As CEO. I was so in tune that I didn't even think to name it right away. The effect that is edit would be considered a reverse. Let me go ahead and edit that for you. Right click rename. We first we stopped for no one. Let us go a little further. Take your mixer. Okay, so this plug-in right here does exactly what it says mu. But for this plug-in, you have to actually right-click the actual plug-in to activate it. If you right-click here instead. Did nothing happens. So let's take it out. Right-click automation clip is do this where we add a little over 72. Over 72. Create a marquee here. Call it right. So transition to other side's going to the end is we put this part of, okay, so this right here is still the verse. My idea is to pause the beat slightly before it drops at 73. I'm just trying to hear a transition really. Let's listen to see what I'm talking about. Transition. Alright, so we're making progress and we will be moving low faster in the last segment. I know Yucca handled it because I'd been watching my workflow since blazing one. Before this lecture ends. The challenge I have for you guys is to listen to the beat and figure out where to first second verse is in, add a marker named first verse. In second verse would be starting from there. See you in the next clip piece. 15. Mastering [Pt 3]: Yo what's up with? So we're going to lay down our final ideas in his section. Usually towards the end of my mastering process are mainly tweak somebody existing automation clips I created just to add some finishing touches to beat the odds to try and keep up. Alright, let's do this. So let's add a marker. Now. Let's first mark the first verse and a second verse. This right here is what separates the producers from the beat makers. Nom just messing with you. Ok, so the first verse is here, I 17. Now the first verse, you got a second verse. He's gonna lie down at 65. Whose only real quick. All right, we'll start from you. All right. We're here. We're starting at 81. I want to remove the kicks. Not entirely. I just don't want to keep clean the entire beat. A slice tool look for the QC where you went zooming so you could get a precise slice zone for that precise slice, chop it up. I'm muting from 81 to 89. For me, that's a reasonable amount that will not be missed on his b. I'm a tweak that part of the Beat later on to fill in that gap. And you could either cut it permanently or mute it with the mute tool. I chose to meet these four bars because that will visually show how that part of my beat was mastered. Not that it makes a difference, but to each his own fan. All right, let's see what else is possible. 77 Mass. And I'm also gonna do the same thing to the snips. Remember. It's all preferences. Fan, mold yourself into the mastering engineer. You want to be slice where you add snares, where you add right here, 8189. I real quick, there's something I would like to show which you don't always have to lay an effect on the master channel. Sometimes you might simply want to add an effect just on the stamp. So to do that, it's the same process which you will be selecting the mastering chain. Let's use all your sample, for example. So if you think we're mixing, simply because we're about to create automation clip for it. Playlists. Oh, I gotta get this. Wet finish, Jackie, do. Let's also add the effects marker at AD1 because that's where the effect is going to start. Remember that's why chop the kick and the snare. Exactly. Fx. Why? Here, you already know these down too. I found this part is important. The other tool, automation clips. Let me explain. I don't know how I created this first one. And y'know how I created the second one. We are mastering With the effect, the plug-in, it's necessary to do so. Here's why. This first one is the actual effect. In the second one is the effects volume. Simply put, without its volume control, the effect will take over the years in. Tie your B. I hope this makes sense. If not, now would be a good time to mess with it in figure more out. I'm pleased to say That's exactly what we did. This one right here. Just like that. Looks like a lot. Right? This is where whatever fear yeah, I had about mastering gets lifted. Alright, this marks the end of our journey. By my blessing, consider yourself inexperienced in-home master repro I don't consider myself as anything lists in Yasukuni neither. It especially after going through my entire course, may head out piece.