Garageband for Songwriting and Music Production - Module 6 | Fran Solo | Skillshare

Garageband for Songwriting and Music Production - Module 6

Fran Solo, CEO at Meijin Limited and Apple Certified Trainer

Garageband for Songwriting and Music Production - Module 6

Fran Solo, CEO at Meijin Limited and Apple Certified Trainer

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23 Lessons (2h 18m)
    • 1. Course Introduction

      5:46
    • 2. Introduction to Module 6

      1:10
    • 3. Housekeeping before Mixing

      4:30
    • 4. Playing with the volume faders

      2:35
    • 5. Arrangement track

      6:21
    • 6. Tempo changes

      4:15
    • 7. Diving into Panning

      12:17
    • 8. Intro to Automations

      5:17
    • 9. Copy, Paste and Delete Automations

      1:38
    • 10. Applying more Automations

      6:10
    • 11. 11 Essential Elements of Mixing and Mastering

      7:53
    • 12. Using the Equalizer

      11:44
    • 13. Equilizer Automation

      2:51
    • 14. Audio Units Plugins

      6:50
    • 15. Locking Tracks and Improving Performance

      2:45
    • 16. Basics of Compressor and Limiter

      11:40
    • 17. Exploring the Reverb

      5:40
    • 18. Exploring the Delay

      6:25
    • 19. Ambience effects Chorus

      6:12
    • 20. Flanger and Phaser

      4:36
    • 21. Tremolo and Vibrato

      2:03
    • 22. Mastering your Project

      14:56
    • 23. Sharing your song

      4:52
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About This Class

Module 6 - Mixing and Mastering

Is Garageband considered for professional audio production?

Garageband isn’t less powerful than Logic Pro just because it’s free; People don’t pay attention to the things that are free in life. Just because it’s easy to get, it doesn't mean it’s not worth getting it.

I have been using Garageband since its release in 2004, and back then I used it to compose music for theatre.

With the continues improvements to Logic Pro throughout the years, Garageband has inherited some of the best features from its older brother. Tempo changes, Key changes, and some significant plugins for mixing and mastering, just to mention a few. GarageBand is a fully equipped music creation studio inside your Mac with a complete sound library that includes instruments, presets for guitar and voice, and an incredible selection of session drummers and percussionists as well as a vast selection of Synthesizers.

Can you make a professional recording with Garageband?

We can safely answer with a resounding YES!!

Garageband for Songwriting and Music Production

GarageBand is your swiss knife for music creation and audio production. Here you can record ideas, get your instruments blend with others available in the library in seconds.

Learn how to navigate the interface and create your first project by using one the available templates. If you have never composed a song, Apple Loops can help you in doing that. You'll find thousands of loops to add to your song and hundreds of instruments to play. All these tools will help you shape your compositions without the need for expensive equipment. 

If you are a musician and wants to record your instrument and your voice or two instruments simultaneously, Garageband helps you do just that with ease.

You will learn how to record, edit, mix and master your music whether you are a beginner or not. 

Get to play different instruments from around the world by using your computer keyboard or a midi keyboard.If you have a guitar, bass or piano, you'll get to try a vast array of professional sounding effects and include them in your composition.

You will learn what equipment is best to get according to your needs without breaking the bank.

Learn the 11 essential elements of mixing and mastering that every professional sound engineer use for a major release. 

Garageband is your Music laboratory where your creations will start to take shape and make your ideas available to the world. 

I can't wait to see you on the other side and start to compose today!

Frank

Meet Your Teacher

Teacher Profile Image

Fran Solo

CEO at Meijin Limited and Apple Certified Trainer

Teacher

I have been using Macs for over 15 years, and I have been teaching it for the last 10.

I am passionate about teaching and sharing my skills and discoveries with people who are willing to learn and share as well. I have used Windows systems in the early 90's, and I was a bit intimidated by the Mac when I purchased one for the first time almost two decades ago. So If you are a Windows user, I know what you are going through.

I honestly believe the Mac can change the way you work or perform your art, without the hassling of fixing things that don't deserve your time.

I started using my mac in my early music career by composing soundtracks for theatre, then moved to writing my music and used programs such as Garageband, Logic Pro, Protools and others extensively.
I a... See full profile

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Transcripts

1. Course Introduction : Hello and welcome to garish bands for songwriting and music production. My name is Frank Cooker, and I'm going to be with you throughout the classes. First of all, I want to thank you for enrolling this course. I'm so excited that you hear and I can't wait to get started. I hope you are as excited as I am as you're about to discover how composing your own music , record your score and use GarageBand as your music idea took. It has never been easier gonna spend offers your Myriads of instruments claimed musicians recordings and template at your finger tips as a starting point to speed up your workflow. So is this course for if you have the beginner level and you're just getting started, this course is for you. If you're a songwriter and want to compose music, using a user friendly application lets you do just that. These course results for you. If you are a musician wants to record his or her instruments a home without the need off going to expensive studios. Well, you are in the right place here. These courses also for you. If you don't play any instrument, in fact you don't really need to be a musician. To use GarageBand. You want to old, so get started in creating e g. M stands for electronic dance, music, pop, jazz and classical music as well. If you are into scoring and want to experiment, sounds to make soundtracks for your project, you get to see how it can be done. This course is for you. If you always wanted to know about mixing and mastering and didn't know about effects and plug ins more often than not, needs to be used to make you music sound professional. Why should you take this course? Well, don't expect just basics, because I will go further down the rabbit hole regarding ply gins effects and how to compose a piece of music from scratch. You'll to get access to me. So feel free to drop me a line if you have any questions and he'll have the chance to improve this course with your input and feedback so I would love your suggestions. If you feel some tedious are not clear. Please do let me know I'm here to make your learning experience best possible. You get access to the course any time, anywhere and with the Udine up, you get to watch it also on your smartphone as well. I won't included exercise files you can practice on if you're tired of searching on YouTube to find answers for countless hours, you're in the right place here. So who am I and why should he listen to me? Well, I've been using GarageBand since they won in 2004 when it was first released. I used extensively for producing the score for short films, soundscapes and stage effects for theater and recorded two albums in 2005 alone. I've also used logic since its platinum version five in 2003 and have done thorns of works with that to have been into music since the age of 16 and have a background in Modern and Jess Gets are and have had a vocal training for several years. Piano, bass, guitar, also part of my passions, and I was a guitar teacher for several years. I believe music is a wonderful, a unique way to express yourself and the very essence of you that you would have revealed otherwise. So I would safely say that you can trust me when it comes to musical position Being created is not something that you were born with or rather something you should nurture to get to the level you want. It's how you approach music, composition and how hard you try. It would make a difference and not some unique untold method. So let's have a look at how the course is structured in module want. You will learn the foundations of garish bands, and you will get to know the workspace and get familiar with the functions available. Any modern, too, you're going to jump straight into creating some music using the apple loops, and he will get inspired by the thousands of them available. So whether you play an instrument, not get ready to have some fun here in multiple three, you get to play the musical side Keyport or a meaty keyboard if you have one. And don't worry if you have zero clue what I'm talking about, as I will touch on media keyboard later on this class, you can record your favorite restaurants, get to create your own drum beats, and even if you're not a musician, you get to have fun with one of the many incredible features in garage band that not many people are aware of. Module four. You get to record a real instrument, your voice or in effect, if you like. Then you can lay your tracks on top of it and experiment new sounds, using the pedal board and the arm designer for the guitar and bass players out there. You also learn how to record multiple tracks simultaneous. Modify your going to experience a creative process. I used to compose music Music you'll hear in this class hasn't been rehearsed, and everything is created on the fly. While recording, I've chopped some parts out to make it a bit shorter and more digestible to watch. However, you get to see one of the many ways songs are created have classified his module as optional, although I believe everyone should watch it, even though it can be a bit tedious at times can also be extremely beneficial for those of you who struggles getting started. Model six. You get to know the nuts and bolts are mixing Master song. Here you learn the essential components that will lead to making your final work sounds professional and purity to share with the world and that we're going to have a bonus model where are recovering your video request and also some tips and tricks about garish band music, compositions and equipment in general. So I can't wait to get you started in songwriting and music production using Garage band. So let's begin your journey today. 2. Introduction to Module 6: congratulations to make it through these module. We covered a lot of ground so far. And if you watched and applied, all that we talked about, you are now ready to take this last step in this course so Imo six, you get to know the not symbols off mixing and mastering song. Here you learn the essential components that will lead to making your final work Sounds professional and be ready to share with the world. We're going to talk about how important housekeeping can be before mixing your tracks. You learn how to use the volume failures out of that arrangement. Tracks use tempo changes and use the planning norms. We will discuss automation and how crucial they are to the mixing process, and you get to see and try out how to apply for summations to your tracks. We're going to reveal the 11 essential elements off mixing and mastering, and after that, we're going to invest some time in learning the basics off flag ins and effects that sound engineers used in debt professional projects. And by the end of these modular going to master your song and be ready to share it with the world. So I'm so excited to start this module with you, so let's begin 4. Housekeeping before Mixing: Now it's the time to make sound. Project Mixing is essentially a process of blending all of your tracks in such a way that they sound good together without interfering with each other. Mixing and mastering process is also considered as art, like playing an instrument or painting A masterpiece on the canvas could be very subjective . It can change from person to person, so I will show you my best practices. But feel free to take them with a pinch of salt. If you think that your style of music requires a different kind of approach, a good practice before we start mixing our project is a bit of a housekeeping first. Renaming tracks condemn finitely. Help make things easier when we're looking for them in the tracks area. Then I would probably suggest a rearranged tracks that are similar to each other or if they relate to each other throughout the song. For instance, if I have two tracks with strings starting at the same time or very close to each other, what I personally do is placing them closer. We also delete a news tracks. If I had any, you could change the icon for each track by right clicking on the icon on the left so they're easily identifiable. Also, renaming regions can be very helpful. Everything that I just mentioned can be incredibly convenient. Especially if you are planning to hand your project over a professional will mix and master your song. Let's have a look at what we can do to improve our project here. The first thing they're gonna do I'm gonna delete the unused track. So I'm gonna just click on these tracks here and delinked, um just breaks back space. Ah, these here It's well known Delete that I'm gonna get that one as well on these 80 cents on die Think I deleted all of them? Perfect. Now I could rename this tracks. I can just make that Steinway piano this rename it by double clicking on the name that local that main piano And I couldn't actually retain with the Amazon as well. So I don't go that distance Dream voices synth and so on and so forth. Let's group our tracks together, So I'm gonna put all the strings together So these strings here can be drunk down some literally drag and drop the's strings together. So these are actually starting together here, so I will probably put them group them together. These are probably the same effect as the other ones. I could also rename regions by right clicking on them on the actual name. If they can remain regions. You can call that in true piano. Could be the lips. That could be the chorus piano. So I think you got the gist of it. Okay, Now I rearranged the tracks a little better. So another we clean up our tracks, we already to makes our song. The first things I do when I makes a song is to check the massive volume level up here. And it also add the master track at the bottom off the tracks area. So I'm gonna go into the tracks on top here and click on show must attract that shows up here at the bottom off my tracks. Notice that the master volume will determine the overall volume when it is time to bounce your project into a file. So if your song it's not loud enough, check the volume Fader Zoff each individual track before rising. The master volume and the master track up. If your levels are okay, and you still can't hear properly rise the volume of your speakers in system preferences. So you go into the apple manual here on top, you're going to seize the preferences and then you going to sound Make sure you check the box here at the bottom show volume in many of our. So you're gonna have the volume on the top here so you can move the volume up and down from here. Miklos System Preferences. I will be careful on rising this master volume up because it might result in distortions or , as they call it in the mixing world clipping. 5. Playing with the volume faders: Now we go through the whole song and I will only use volume failures and planning knobs right here. So go volume favors for the track and the knobs here for fund them left and right. I won't touch any mute solo button just yet. So let's play the song all together and see how it sounds. I'm going to stop just right here because I noticed that the meter here was just clipping on the Reds. So I would probably put the volume off the drummer slightly down just a little bit down slightly and just play it from here. Probably have more with volume or pretty much everything here. I just wanna make sure that there must volume here on top, doesn't it? Way levels are better. It definitely sounds better than before, so let's go to the next step 6. Arrangement track: now that our project sounds much better by playing a bit with the volume of failures and often renaming all our tracks. Another method that I used the terming certain sections of a composition is the arrangement track. Usually when we compose or write a song, we pretty much know where the intro, verse, chorus, bridge and other sections air plays in our song. The arrangement track allows you to determine thes sections and assigned them in your project. First things we do is to enable the arrangement track by going to track on the menu bar frankly can show arrangement track and you see these track on top Coal arrangement. Now what we do, we just click on the plus pattern here. The first things that appears is our interest. So I previously a sign the sections here on my project. So I'm gonna go for these, Will you? So you need to to extend Reduce this bar is by dragging the right inside and move it. So the first section here is my interest. I'm gonna leave it interest if I want to add another section which express the blast button again, and I'm gonna have my verse and this is going to stay as is the next one is gonna be my chorus and automatically switches into chorus. And I can choose what my choruses in this case here, my chorus is this part here and extend it by that just after 33 a glass bottle again. So the section Kerry play that this is sort of a interlude, so I'll probably just rename that if I don't find that interview that I can go to rename on a time interviewed Inter Ute groups on press return. So that is the way for you to rename your your arrangement track. Next, we have another interesting the blast pattern again on I'm gonna in the intra. And the intro is gonna be very short. In our case, only two bars and then we're gonna have another one for the verse is going to go up to the bar for roughly here. Yes, it is here and then we have our last section, which is our altro. She's actually here, and then that ends here. Now, when I usually do at the end, I always keep that slightly longer, just in case I want to have like an effect at the end of, like a re verbal echo for whatever instruments have got there. The ended this case I wanna have that nice piano fading with a nice affecting when I apply the effect later on. So I'm gonna just leave that let's say one beat longer. Another thing also that you should do before you bounce your track is by shortening your project. Because if I now bounce this project, my project will be exporting these empty sections here, which I don't want. So after two gold away at the end of the project, gold away on top near these zooms lighter also have a bracket over there on top that determines the end off my project. So I could work, Simply dragged that to the left so I can just decide. My song will finish at bar number 61 so I can shorten my track. So when I bounce, my project of the end is gonna bounce it right right here rather than leave any empty space . Now, the arrangement track and be very helpful for you just to determine where certain sections are but also allows you to move sections entirely for our your composition for at your song . So, for instance, if I decide I wanna have these verse moved somewhere else throughout my song, I can just go here on verse a move that you know, other sections. I wanna have the verse, Um, right before the inter Newt. I can just drive that and drop it right there. What it does it will cut off that section and moved it to that part. And I could just play that part. That would be and that actually, not bad. But if you decide you want to go back what you wear, you can either undo or just move that section by dragging it again. What? Waas? This is a good way for you to re arrange an experiment. You don't repeat a section or copy of section over by holding down the old key or option key on your keyboard and simply drag that and drop it somewhere else safe on a drug drug. After the interviewed can do that, I'm basically made a copy off that section, so that could be quite useful for you to move stuff around. But be careful when you record voice tracks or any other tracks there are not really loop, herbal or repeatable. Make sure that you re arranged this. So move the arrangement Track first. Before you record are the tracks that cannot be cut off like this. So just let me just don't do that. Let me go back to the section here also, by having distract distributing this way, it can make your life easier if you decide to have certain sections with some temple changes who feel the time. I wanna have tempo changes here between the verse and intro. Also on the interlude I want for Slow down my temple. I can do that here, for instance, because I know that that is my interlude so you can do the same thing on your songs. If you want to experiment certain sections with different keys, you can use these as a reference. So this is the arrangement track hope you'll find a useful and let's go to the next part of our mixing process. 7. Tempo changes: I want to talk about tempo changes to your mixing you're mixing. There are often sections with temple changes, sometimes, especially in pop music or rock music. It's very difficult to spot where song changes temple while listening to it. This is a real experiment. I suggest anyone to do take a metre, Um, if you have one. We use garish band measure, um, in play mode and set a temple that you think your favorite song as being recorded at now. Play the song and start imagining when you think is the right time. You will quickly realize that the temple it's not consistent. And this is because the song has been mixed using temple changes to make it sounds more interesting and dynamic. These are little tricks professionals use during mixing and mastering and garish. Ben allows you to do the same with your project as well. Now, in this mix, I will attend to make some tempo changes in the interlude section where the music changes dramatically. First, we need to enable the temple track on the track in the menu bar so that are going to track . We're going to show temple track. This will show me these section above here My tracks says Temple and I've got my 120 because my song has been set as under 20 and I'm gonna go into my interlude here and I want to change these section here. And I want to basically slow down the temple because the second section here is filled with , um, base and timpani on our instruments that I want to play slowly. I want to basically have these section until the until the end of these verse to be under them 20. So all I need to do is simply click on the line here to add these. It is not so that will determine the changes. So I want to move these down to under 18 and I want to make sure have, like, a slow temple change. I don't have an abrupt change. Thio was lower temple so But I want to play here at under then eight. So I'm gonna click that and I'm gonna drag that all the way down to under the night. I'm gonna slow let down until under the night. Well, let go there. But I want to have a fading effect in the middle, so I don't want to just drop from 100 and 20 suddenly 208. So I'm gonna go here and let's say right about here. Click again. I'm gonna drag that down to have a little bit off difference in Temple. Now, if I click and hold these dot in between this black dots here, I can just make sure that now I've got a certain a certain curve that occur in the area there. So it's more soft, and I can do the same thing here above under the Nate to, you know, basically click on that black dot and I'm gonna drag hopes, make sure that when you drag it you you have that transition as well with nice curve. So you have a slow transition two under the night, actually, can it rise there up slightly? And now I'm gonna play the song from here and see how it sound is going down Temple. Okay, cool. So I've done my temple change here, and my song changes slowly for 120 old away. 207 in this case. So it sounds good even 107. So I will leave it as it is. And this is the way to do your temple changes 8. Diving into Panning: Now let's talk about pending. When you listen to any music through at France or stereo speakers, especially orchestral sound type, you probably noticed that some instruments are not coming from both speakers. You may hear a guitar sound coming from the left or a bass sound more on the right or percussion on the right and acquire on the left. Or if you listening to electronic music or ambient music, you might have noticed sounds going from left to right and back, etcetera. These kind of mix allows you to experience that sense of space in the recording. If you close your eyes while listening, it almost feels like you were there in front of your band or symphony orchestra. This is because our years are capable, perceiving sounds in a 360 degree spectrum, and in some ways it's partly because of our years anatomy as well. This is gold panning in the mixing world. Many producers use panning in different ways, but as a general rule, when you pan our songs regardless of genera considered to emphasize drums, lead vocals and all low frequency sounds towards the center and backing vocals, percussions or other high frequency instruments, the chairs, setting guitars, strings would wings and similar in either direction. However, I can't stress this enough planning, like other things in mixing mastering is subjective. And it's up to your taste or your client taste. If you wear commission to makes music for them, I will now attempt to change the planning here in our song, I'm gonna close my temple track, going to track on top and hide, um, Temple trick to make a little space. I'm gonna play from the beginning. Uh, my piano is my main instrument here place throughout my song. And I've got also another synthesizer here as well. So what I would do it will probably keep the piano roughly in the center there. And the dream voice slightly on a site. Now, that is not rule. To be to put a left or right is up to you, but I usually just put a randomly in one side, and then I kind of adjust it. What? I'm listening. So and just move it slightly to minus 20 which is right on left. You can see your left and right here. And I'm gonna just play that again. I thought these flu tear his Chinese flute on. I want to put it probably on the other side because they already kind of occupied the left here. So I'm kind of going order Almost the first things that appears in my in my song our this and the drummer on top. So the drums are probably going to keep them in the centre. And I'm gonna just movies on the side. It's quite loud. I want to keep it loud, Aziz, for I'll probably just move us dressed Almost trusted Lee to the right side. So you get like, plus 63 or minus 64. This is a sort of thing, that sort of measurement you have and the zero which is the center. So you're listening to left and right here both sides of your speakers. I put on the side here. You only here on the right. If I go all the way to plus 63 you only hear it on the on the right hand side. So you only listening to that from the site. So if I want to partially put it on the right and just move it slightly, that's a plus 30 and least there again from here. I would probably say that since here can leave together with my flute. But again, it's really up to you. You. How would you mix this two out? Would you pan these two on the exercise file you you got in this class? You can change your mixing the way you like. So I'm just show you the way I would do it here. So let's carry on here. I've got another percussion here coming through. So probably put that percussion on the other side. Considering that I've got my synthesizer here, that is going to pretty much well the way through, up to bar number 18.4. So, yeah, that percussion will stop there, So probably mix that on the left on. Then I will play from here. Holt got these strings here. If I sold those to play, Okay, that's fine. Um, also another thing, when you see groups off instruments together like these three got these Chinese dicey that I've got these viola. And these are the second viola altogether. I could just solo them and then pan these three, but always make sure that you consider the other instrument as well I'm gonna give you an example. Here, Capon, these three instruments together. So if I place my play had here and I saw these three So another quick tip to solo your track quickly is by holding down the cursor on the first headphones and then drank. Ah, so you from here and didn't draw that down, and it will automatically. So you see, I'm just holding my mouse Click down and it will automatically click the others is very handy tool for you if you want to. Quickly. So something. You just click and hold on track. And it will highlight whatever you want. Like this. If I do with mute it with the same thing. You see, I'm just quickly clicking and holding down and dragging century. Let me just go back here. That's mute. That solo, actually, three tracks I'm gonna play from here. Press play. Ah, these two villas are the same. So I'll probably put make sure minus 30. The other one is plus 30 for instance, something like that. So it kind of compensate each other, and they are kind of spread throughout my stereo spectrum. So played up perfect, because now I've got only these viola and these other Chinese flute distributed either left and right, Perfect on. And they sounds get together these way. Now, those also other ways for you to pan you can use an automation gonna talk about automation the next class where basically you can change the position off planning or any elements. Really? Any parameters from volume two planning to either effect. If you have effects like a re verbal echo that you applied on each track, you can't automate those throughout the songs. For instance, if I want to have an effect like chorus effect off thes flute starting from this bar, Bartle 22.1. And I want to then fade that effect up to bar 26. I can do that using automation. I'm gonna talk about automation next class. But just for now, let's stick with planning. But just let you know that it is possible to do the automation as well. If you want to kind of make you music sounds more dynamic and to kind of give a sense of directions in a way on its carry on from here on the left. What I'm doing this kind of arbitrary now, but just to give me an idea and that sense of space as well, you can also notice that I've got three tracks here playing since simultaneously. If I put my might play had here I've got 1234567 play at the same time. So I need to kind of balance these panning in such a way that all play together and there are kind of even link spread in the stereo spectrum. Let me carry on here before the interlude. I'm gonna move the piano sliding on the right. Way too much way. Move. Timpani, scythe soul of these three drinks together Replay that back and see how they sound together . This is sort of a mix between high frequency sound and low frequency sounds instruments. So in this case, I have to kind of compromise and say What? Where should I put that in the centre towards one side to the other. And then I just make it on the side here. It doesn't have to be necessarily logical the way you plan your restaurants. It's just the way they sounds that its most important. So I'm gonna just unsold that and play that part sounds good. So far, three only thing Oh probably do is change. The volume of this transition here looks like is very abrupt here. I don't want that to be these abrupt. We'll have to probably change the volume to be, like, sort of a fade in volume on. I couldn't do that. Using the automation. I'm gonna show you in the next class. So basic it sounds like this now is a bit too much there. I want to have, like, a fading So in the next last gonna show you how to use the automation. But I hope these panning makes sense now. And if you have other tracks, will have the project. We multiple tracks plays at the same time. It's a good exercise for you to to use the pending. In this case, you have got maximum, like 45 tracks playing at the same time. Here. It's a two minutes. Track is not that long, but it gives you an idea on how the pounding works open, make sense. And I'll see you in the next class. What? I'm gonna talk about automation 9. Intro to Automations: As you progress with you mix, you may need to make some dynamic changes to your tracks for volume pan and effects levels . Rather your song with automation, you can record these changes and refine them later on if needed. As I mentioned the previous class, I wanted to change the volume levels for this transition here. So I move it slide young side. You can see it. There we go. So in order to do that, I would have to go into my automation bottom, which is on the top of my tracks. Harry here, next to the play head. I'm gonna click on that. That will reveal my automation. By the way, if you need to zoom in your tracks, you can always go on the top right hand corner here and assuming out you need to. So in this case here, I zoomed in just to see this region slightly wider. I want to make sure I do the right automation here. So I'm gonna click on that track. And as you can see, I've got thes pop up menu here. So when I click on that, it will reveal all the different effects that I can automate in this case, so in each track as different effect flight them. So let's say now I want to change the volume. I can just click on the volume char RTM. Click anywhere here on these area where the track is to enable it. And you can see this yellow line is my volume. And these effects are all color coded, so fit that is yellow. That's gonna be yellow. And you'll have other colors for punning, echo reverb, etcetera. In the music world, when you deal with volume, if I click and hold the fate they're here, I can see that one is at zero db which is the initial level for each track. So that is where I want to have my volume at the pick. I wouldn't go any further. Otherwise I'm my clip on my overall track here, So I make sure that I don't clip so you know, the to make your automation here one. If you simply click on the line to create your automation note. Now, I want that to go down. In this case, I don't have any other track before that. So it won't affect any of the track because That is the only region I've got in that track . I want to basically start. I'm gonna drug that dots just right at the beginning Here. I'm gonna drug dot Right about here. I'm gonna drive that daughter hop and up to see your GP. I want that to rise up here. Perfect on. I want to just play now the track from They're gonna just go here and let's see how it sounds from here. It's quite cool. Now I'm gonna drag their thoughts slightly to the right just to have a like, a little bit of move softer fade. In fact, I don't just play that again, okay? Probably was better. Wait was before. Let's try that again. Perfect. Another thing I can do I can also automate something like planning. So let's say I wanna have that effect to go from left to right. I can do that by using the automation. So you know that to apply the automation to my planning on introducing to go to volume again and shoes cunning. So the plan now is there, and as you can see is green. So if I click now on the track will be a Green Line. Now these Green line is not in the same level as my volume wasn't zero to be, but using the center because this represent the left and the right area. So I'm going to create an effect from left to right. So if I click on the line before the region starts, create my note, I'm gonna hold. So create another note at the end because I want to make sure that hands in the center. So I'm gonna go that click that, and then I'm gonna do my adjustment here in the middle. So I'm gonna click again to create another note. I'm gonna make sure that one goes, Let's say, on minus from left, his minus sort of all the way to minus 64. I'm gonna click next to it to create another transition, and I'm gonna go all the way down to to the right two plus 62. Let's see how it sound. And to hear this transition, you probably need to wear at friends who use stereo speakers. Let's play that back A Z. You notice your tracks went from left to right. So, Aiken, do the subtle adjustment by using the AutoNation's so you can have a lot, lot of fun here you can make tracks going from left to right, back and forwards and have that sort of ah must try dimensional effect on your sound. 10. Copy, Paste and Delete Automations: If you want to delete automation notes, you can just click on the dot and press backspace to delete them. You can see here I'm just the leading the pounding automation by using but clicking and deleting as the way to delete your automation. Instead, let me just undo that. Let's say I like that automation and I want to copy the automation somewhere else. I can highlight the whole lot by clicking and holding the cursor just the right outside their automation to highlight it. So as you can see now, that white not gonna do Come on, See? Well, I can go to edit copy and then I can pace that somewhere else with a place the play head somewhere he'll say one apply the automation to That's a my trend on top here. I could do the same. So I didn't go here. I can go to pan as well, and then I'm going to edit paste, and that will pace the same automation that I applied here. Now you can use this in the same track that would make more sense, but it is really up to use. It depends of your music. Depends on what you do. But this is the way to copy and paste you automation. And also, if you decide you want to change the arrangement, track from the top by dragging them in different areas of your of your project. The arrangement will also move the automation and all Pemper transitions that you applied in that specific area. And the next video I'm gonna show you further auto emissions. 11. Applying more Automations: Now I'm gonna ply another automation on the percussions on top here. So I noticed there quite loud these section, so I'm gonna just zoom out a bit. Just assume it's slightly smaller. They seems quite loud here. I'm going to play the track from here and play it just right when the piano starts. I would like to low down the volume off my Merak. It's so I'm gonna just click. Make sure that you got the volume automation on and they're all volumes. So is volume there. I'm gonna click anywhere here on the region to enable my yellow line. And I want to basically lower the volume from right about here. So I'm gonna play content to create my note, and then I'm gonna click right at the end, the one that actually the end off the piano here because I want to mute almost the Moroccan . Yes, I'm gonna drag the down. And by the way, if you want to have more automation later on in this track without affecting the volume off this line, you will have to click again after that note to maintain that level so I can now drug that dots down without affecting anything forward. So I'm gonna drug that down here to make it going down right about here and inoculate my track from year. Actually, I want to have the Moroccans going in here. I'm gonna click before that because I want to make sure that I've got a slow transition of volume transition. I'm gonna now try to play from here. Okay? That's cool. Gonna drug the other note in such a way that the Marcus will let me just click at the end, actually want to fade these at the end? So I'm gonna drug that down. Not at the very bottom somewhere here. So they're still there, And then I want to trade on the note to put them down at the very end. Let's see how it plays. Here is a crescendo. Here. You can see the levels here goes up automatically goes down slowly, wake a perfect. I'm gonna leave it like this, and I'm going to apply another automation on my main piano here. I'm gonna click on the main piano to highlight it in this case yet. I don't know. Gonna change your permission off the volume, but want to change the automation often effect off that piano. So if I click anywhere here on the pop up menu, I'm gonna go into my echo. So these four fact volume pan ECU in river are the four that you find in any tracks. Anything you find below unders, Mark controls. These are all effect related to the track itself. In this case here, the effect that are in bold letters like reverb are the one have bean automated, so frankly can't reverb there. I apply an automation before for these for this piano, but I want to see if I can change that slightly. As you can see now, these river is blue colored coded and the line is blue. So let's say I want to make these reverb going up on these parts of a press for play. These piano here, thief River B is not too strong is I'm gonna click before the track click after the track and gonna just to rise that volume up here while the review in this case, click the very end there, and I'm gonna drug that up just to have a little bit of effect there. Let's have a look. Okay. Perfect. I'm gonna also changed the echo When I go into echo My echo now used in pink When I click anywhere on the track to reveal the pink And then I'm going towards the end Actually the beginning their on going to rise up my echo Just a little bit on I'm going to make it slightly higher here and I'm gonna go down again I'm gonna just just clicking on the line to create this note These transitions when a gold way down here and then thief kind of finale off my piano or one that echo to be constantly on. So let's play that part. Makes quite interesting sound there. So this is the way for you to automate volumes Pan effects in garage band. 12. 11 Essential Elements of Mixing and Mastering: one of the main challenge. Mixing and mastering is making sure that all our tracks are present and do not overlap each other in the final mix. Why we're mixing. We need to consider a few elements that will determine the best outcome for a song composition, and these are 11 essential elements for mixing and mastering. So let's have a look at them. So we have organized tracks volume arrangement. Temple changes, punning and automation. So we've looked at this 1st 6 element already. And then we have equalization, dynamics, harmonics, ambience and modulations. So basically naming tracks and regions and group them together in such a way that makes sense for our project. So we went through these already. We also tweak the volume failures of our tracks to make sure they're all roughly balanced so far. Then we also added the arrangement track that allows us to label certain section off our song. We also need to determine the temple of our song with our project is gonna have some temple variations and then, of course, we tweak the planning for each track in order to kind of distribute them in a in the audio spectrum, evenly and create that sense of dimension and space. And we also automate volumes, planning and effect because you might have certain tracks that need to be boosted in certain area off the song off composition. Well, you might have certain effects that you want to trigger a certain time. Then we have, of course, variation of all your frequencies that we're gonna come in the next class. But using the equalizer, then we have dynamics. So variation in level in the audio signal that ranges from soft allowed is called dynamic range. And we're gonna have a look at how we can change these and how to make our sounds better. Then we have our Monix and harmonics. Distortions can make your mix fuller, thicker, warmer. On were Richard Sound. We're gonna also have a look at some plug ins, a beacon news. Then we have ambiance which are reverb and delay are the to practice with We're gonna let me look at and also we have modulations which essentially are four different plug ins, chorus, flame, jer, phasing and tremolo. We're also gonna use in guitars and also in the master track as well. So I've listed them According to the videos you just went through so they don't have to be in these order. And in this class, though, we're going to focus mainly on these three equalization dynamics and harmonics. For those who want to get the best sound out of the mix, I suggest investing a little more time experimenting these tools we're going to touch on ambience and modulation as well later on. So let's have a look at the equalization. One of the way that we can change the sound of our instruments is by using and experimenting with the graphic eq u short for Equaliser. So this is how the guards band equalizer looks like and in the distance I split it in four frequency ranges even though we have low mid range as well. I just thought these four would cover the whole frequency spectrum and it would be enough to explain how the e que works. So let's have a look. What are these frequencies? So we have a full range which goes from 10 hurts all the way to 20 killers, which is everything and what we are able to perceive. Then we have the low frequency ranges goes from 10 Hertz, 220 hertz. Mid Range goes for 100 20 hertz to 1.5 killers. Hi meat goes from 800 hurt to four killers, and then we have the high range goes from four killers all the way to 20 killers. Now, low frequency instrument can easily be drum kicks, bass guitar sounds and similar in the mid and high range that you can easily find strings, guitars and any other high pitch sounds. However, this is just to give you an idea of what to expect when listening to your tracks and looking at the graph here. Let's have a look at the layout of our equalizer on top. Here we have our frequencies witches, and here you can turn on and off certain frequency ranges. When you switch one of these Aikens, it will light up. The correspondent dot there will appear on the red line in the center. Then we can drug the doctor up to announce frequency or down to suppress it. We can also drag it left or right to change the frequency on the right. We have our again Fada, where we are able to boost the overall frequency up and down. This feather can be very handy if we need to make our track more present. If the volume faded doesn't help, then we have the frequency editor, and this is another way to change frequency. After clicking on the color dot on the red line, we can click and hold the frequency here to pull it up or down. We can use the slope or gain to change the gain, and the Q allows us to widen or narrow frequency. And finally, we have the analyzer, which is essentially is which this play the show's frequency wave in play mode. Let's have a look at dynamics now. If we look at these way form, we have the loudest pick level and the quietest level, the ranging between his cold, dynamic range and that can be changed if needed. Sometimes when the sound is causing distortion and clipping lowering the volume is not enough as we may lose other frequencies. We also have instances where the sound is not loud enough, and that's because the dynamic range is too short and boosting the volume one help make it prominent in our mix. So there are two kinds of processors in garish, bent and in any other d a w softer that we can use. So the ones that reduce that I make Ranger called compressor and limiter and the ones that increased dynamic range are expander engaged. So just to recap, compressor and limiter will come very handy to reduce unwanted clipping, distortion and even up our sound during mixing. Mustering the expander and the gate will do the opposite. So what is harmonic distortion? Music is a combination off fundamental and harmonic frequencies. These two elements give musical instrument unique timber, and we are able to distinguish instruments among others. Now it will make more sense with his example. If we have a violin playing a middle a note, it will produce a frequency off 440 hertz. And this frequency will also produce other frequency called harmonic distortions that will make the sound richer, warmer and with more characteristics something like that. Now we are able toe all to the sound by using one of these plug ins. The exciter gives us the ability to announce frequencies and certain harmonics. However, third parties off to such as the Hornet harmonics will give us more flexibility in the harmonic spectrum. This is a free plug in that you can search on Google and downloaded, but in some cases it's not necessary. I just wanted to mention it, as some of you might be interested in mixing and mastering beyond this course and my find this plug ins very interesting. So let's continue to make some master our songs. So that's you in the next video. 13. Using the Equalizer: Okay, let's open our graphic equaliser by selecting our trek first. Then click on Smart Control on top left. Then we're gonna enlarge this. Just make it taller by dragging the border and next to controls we have eq you. So I'm gonna click on e que So this is an eight band graphic equalizer and each track as one. So the e que is an extremely powerful tool for shaping your frequency balance in your mix and also in your recording, you probably have used an equaliser before, like the one you see in karst areas with low maids and high frequency levels. Think of an equalizer as a frequency mixer for each of your track. If you want to find out more about the EQ, you please watch the video about the 11 essential elements of mixing and mastering in this module at the moment to de que is not affecting the sound off the track as it is completely flocked. The frequency range goes from low to high, going from left to right. Then we have our frequencies reaches on top that we can turn on enough when they collard the on. When the great out there off and each of them will highlight the frequency down in our panel. Each color dot is a frequency range that can be moved in any direction. So if I have the curse on any of thes and I move anywhere, I could move it anywhere. And as you can see down here also, it will tell me the frequency that I'm in so I can drive that old way to 20,000 hurts along the way to 20 Earth's. Let's have a look how these works first. So I'm going to select the piano and I'm gonna play in solar mode first. Frankly, complaint on. By the way, before you could complain, make sure that the analyzer is highlighted. The handle eyes allows you to then see the frequency wave on our piano when I press play. Now I'm gonna move one of these dots. Stop and see what happened. Nam enhancing the meat range frequencies. I move that all the way to the right to announce the high frequencies. Well, the way to the left to announce the low frequencies. Now, if you're not sure which dots to move, but make sure these are color coded. So if you want to, for instance, announced these area here off your sound. Just moving around these area without moving to march with that yellow dots because you still have the other ones available anyway, So you're gonna have to drug that necessarily a gold the way here to experiment. But if you know that the frequency that you want to announce is around here using this yellow, you can actually move the yellow back here and go where these other frequencies are to announce this frequency by rising that up or rising this up So everything kind of stays distributed in the right order. There's not really a rule when you move these dots bar just to make you aware that you can choose any of thes and move them around. This is just my method and also to make your life much easier when you have to move them around and you know where that frequency ranges now below. Here we have frequency gain and Q Q stands for quality, and what that means is, if I drag their upto unanswered frequency, I can go down into the Cube and raise that apple down to narrow my range. See I can broaden the range or not, or the range so I can Now don't drag up and down and announce on Lee a certain frequency range here without affecting the rest that is adjacent to it. So let me just give you a demonstration of it by looping the piano would say that about here. There isn't why I'm looking in these area is because I also have a drummer and other precautions as well that I can mix together this case. I'm gonna just play the piano in solo and press play, and I'm gonna move that left and right. Say, I like the sound. I'm gonna leave it like this. I'm gonna go to Q and make it slightly broader on also on the left. Inside. Here you have these switch to turn the equalizer on enough to compare between often on now is on. He's off on now, if you're not sure what dots to move. One of the things that I worry suggest to do is to experiment first and see what you like. Otherwise you can go to the settings here and you can choose one of these presets, so there are various preset for each instrument, and you can even go to e que tools here where you can change certain frequencies manually or reduce the hum if you have a harm frequency that you want to get rid off or if you want to free since ever like a megaphone effect or telephone effect, you can try one of these accused as well. Now, this is in this case is a piano, So I'm gonna go into settings and shoes, keyboards and trying one of these equalizer presets. I'm gonna try with grand piano here, and when I click there is gonna give me any Q preset for that. You can also use these as a starting point. Then you can tweak the frequency around as you like. Let's play that part that stand a switch on and off. Compact. Okay, fine. Father like the base that I can just lower the frequency down. Just move that down. The rest can stay as it is. Another tea before using. The equalizer is also to compare with other tracks because when we use the cries for the first time, to practice is good to use the solo moat. But when we have to kind of mix all our tracks together. It is advisable to turn all the other tracks on and mix within the context. So in this case here, I'm not going to turn all of them on. But I'm gonna turn on the drums. In this case, I'm gonna turn the solo battle on the drums and on the percussions, And I'm gonna play these three tracks simultaneously with my equalizer And I'm gonna also switch between the tracks by clicking on them. So I'm going to see the equalizer for each tracks for click on drums I'm going to see the drums Equalizer Percussions is the percussion and then the piano issue as the one we just tweaked now So let's just play it now and play around with the e que volume with piano down is my precautions When I get rid of some high frequency is too high my liking So I'm gonna turn that on I'm gonna solo only the precautions and I'm gonna compare before and after That's without very high in frequency standing on. So I suppressed some of the I frequency here, so that is balanced well with my piano. Let's listen to the piano as well. Theo was which the piano as well. You can also compare the frequency wave here on the piano and the frequency wave on a percussion Here, to the frequency on the percussions are around one key lords all the way to 20 lords and on the piano final appeal. Play the piano again. Theme piano are pretty much between the 50 hertz old way to 10-K So I have to kind of balance these out with the percussion. Here will take some practice in order for you to equalized all of your track in such a way that they don't interfere with each other. So let's enable the drums again and play it on going to the drums now. Okay? It's quite Basie here. So what I'm gonna do, I'm gonna enable my local frequency here, and I'm going to drug that up so I can just cut some low kick that Let's breathe again. Very subtle adjustment. They find Newt on Lee the drums, and I turned the equalizer off unknown again in both slightly further. I could do the same thing on the other side. I'm gonna cut some high frequency as well because This is the kind of limit what we can perceive with our years. So there's not need to go any further than here or then here as well in the note in the low frequency spectrum. Now I'm gonna turn the other one. We also have the gain favor here that allows us to finance the frequency apple down. As you can see, it will retain our equalization throughout the slider here, so it won't affect our adjustment. Now, the gain favor can be very useful when you have to announce attract that. You can't necessarily announce using the volume favor here on top. So you would use the gain as an alternative to raise that up. So, for instance, if I play these percussions now and I press play, I could raise that gain up on the volume there will go up. So this is just another way for you to announce tracks Another alternative for you to use the equalizer is to go back to this mark controls and play around with low meat and I frequency. So if you play around with these knobs, you essentially affecting the frequency range Here is well, but I suggest you use the equalizer to play around and experiment the sounds from here. So this is what you need to know to get started with the equalizer. 14. Equilizer Automation: this week, I'm gonna show you how to automate the equalizer. Now, I wanna have a frequency change at the very end of my track here when my piano place at the end. So, in order to apply in automation on my EQ, you have to go into the automation battle on the top here on my track area. And I'm gonna go to my piano, click on a pop up menu here, go to Channel Equalizer and these older, different parameters that we can change. You can go by experiment by clicking on one of them and move it around on the automation line on top. I'm gonna show you how to change for essence, these frequency here towards the high frequency range. So I'm gonna choose pick for frequency off Peak four gain. I'm gonna click on gain first. And this is the line that you see on the automation. If you can see the line, just click anywhere on the track to enable it. And I'm gonna go to the and here and create my note. Click a few times here and I'm gonna drug some dots here and see what happened by moving to play ahead we'll see what actually is moving. It's actually affecting these range here, 2.7 killers. So I'm going to then move the note down here on another note here to go back to the initial point and see how it sounds from here. Quite like it goes old way up. So I'm gonna probably stick all the way on top, going back towards the end. So let's see how it plays like this. Cool. And now I want to make another automation by going here, going to channel equalizer and change the peak four frequency. So now I'm going to create other notes on I make sure my play head is nearby. Oh, I see what I'm doing. So if a drug that down is moving that frequency to the low frequency, I'm gonna go up again. I'm gonna create another notes down here on another note here. Now, I can also drug the automation by highlighting it and moving it towards the end. And let's play that part pretty cool. So this is the way for you to automate your equalizer. Play around with the options you have here on the channel. It you 15. Audio Units Plugins: When you want to change the sounds or a fact of your tracks, you can simply go to the library top left and choose a different effect from him. Now dormant, we have our main piano. And if I want to change the effect from here, I can do that. Now. GarageBand gives you the option to tweak thes sounds by going to smart controls. So fucking smart controls on top. I'm gonna close the library just to have a little bit of room. And there's Marc controlling here. I can change the sound, but I can also change other effects on ADM. Or effect if I want to buy going to pliancy on the left hand side. So if I click on the triangle next to plug ins, it will reveal my piano. In this case is any X s 24 which is our digital piano. And these are all the effect have been applied to it. I've got channel equalizer of a compressor on tape delay. If I have the cursor over these three buttons, it gives me three options. The 1st 1 from the left allows me to turn the effect on an office. You can see here My smart control now is shadowed here. If I turned that on, it goes back. If I click on the one in the middle will enable my plug in in a separate window. In this case here I've got my channel equalizer But I could click on compressor and the compressible shop this way. Now the one on the right allows me to change the effect This case we have Equaliser But I can also add additional one by clicking on the empty pattern here at the bottom for click there can choose any of thes So you got plenty already in garish band are you also have an option to install additional like third party ones from other websites who at the bottom of got older units and you have got the option to choose any of my plug ins there purchased from other websites also have apple and these are the one that you have on your math now to enable old your units, you can go into preferences Gosh bent and going to rodeo meaty So here you need to make sure that enable all your units is sticked. So once you do that, you should be able to see that option down here. Call or your unit. Wait, you apple. Now, when you enable old your unit from preferences, make sure you quit garish band and you reopen it to. Once you've done that, you should be able to see all your unit with apple installed. If you want more plug ins, we're going to install a couple of plug ins from two different websites. If you look for black ins, you can go to any browser. In this case here I went into the browser and search on Google best free, garish bent plug ins and I found thes website here. But you can find any other website just typed is in free, garish band plug ins, and then you can choose whatever you like. So I choose the 1st 1 here that gives me a list off Different plug ins, actually, is the other one down below best free on. If you click on any of these, it will explain what the plug in does. So this is a package off different plug ins that you can download. I already don't know the couple, but this is the way to kind of search them, so you search them and then you can just follow the instruction here and download them. So I'm gonna close this. So I downloaded a couple one school Hornet harmonics, and that allows me to change the harmonics off our tracks. If you want to know more about harmonics, have a look at the 11 essential elements for mixing and mastering in this module. So when I double click there, you should be able to see a section for Mac or Windows. Otherwise, you should be able to see a list that looks like this now the one that are compatible with garish band or logic r dot component. So if you see these files dot component is the one that you have to use the majority of plug ins. So they come with an installation file to make your life easier. Now, in this case, yeah, we only have the component that we have to drag this component into our library, gonna show you where to drug this. So we're going to go into the finder on top. On the go, we're gonna hold down the old G o option key on your keyboard and click on library. So here we have a section called Rodeo Folder. We're gonna go into plug ins here we have our components section. We have to drag that file into it. So I'm gonna double click again into my hornet harmonics when I go to Max and I'm gonna literally drag and drop that into my folder. I can close this, make sure you quit, garnish bent and reopen it, and then a quick, garish bands on my dock and I'm gonna reopen it. And now, if I'm going to my plug in here and I choose all your units, I can see my Hornet is there so I can click on Hornet harmonics and all my plug in will show up here in a separate window and I can tweak the sounds from here now I'm not. The plight means that I've got here is Blue Cat free where this is another plug in that I downloaded from the Internet. You can just search it and is, ah, selection off flame Jer Cora's phasers and also wave analyzers. So if I double click there is going to unzip it got also here selection of components that I can drag and drop in that folder just showed you He is quite nice because it comes up already with a component short cut off your library. So if I double click there is going to show me my component and I can drag and drop that in . Now, I show you before you to go to go hold down option key, click on library and go into odio again. Plug ins components and you can drag these components in. I'm going to drag just one, just to show you how it looks when I go into, uh, this one here gonna drug that in. And now I'm gonna close these two windows, you know, there for me to see that If I go in now to the plug in down here is not gonna show me that yet because I have to quit. Garish meant when a quick, garish Ben now no need to save it. And I'm gonna reopen it again, and I can go down to my plug ins all the way down and I can see my blue get older, is there so I can click on the flag in there and the black It looks like this. So this is an analyzers. If I play my track in solo, you should be able to see the sound wave here eyes very similar to the equaliser. But you can do many other things here. So this is the way to download and install plug ins from third parties and to make your workstation more comprehensive. 16. Locking Tracks and Improving Performance: What if, after long hours of mixing, refining your sounds, something got moved around and your effects were altered by mistakes? This is a common problem during editing, and it can be a real tragedy if you don't remember all the steps you went through to get that desire set up that is now lost. Great way to lock your regions and tracks is by using the track lock feature. This lock into is also used to improve your project performance in case your computer struggles toe handle too many tracks and plug insert ones. Let's learn how to enable track lock. First, we're going to go into the track on top. I'm gonna go into configure track header. You can also right click in any track to enable that by going to configure track header here. Now here we go in to enable track lock by kicking it. And as soon as you do that another button appears on your tracks area. I'm gonna click away, too. Close it. No, I'm going to my piano here and click on the lock is going to lock that track. So if are now trying to move any of these regions around it's gonna tell me the track is locked. It cannot be moved. But this lock feature works in two steps once you have to lock your tracks. So I'm going to lock all these tracks. But I'm gonna just click and hold and all my tracks. Now I fight the play button. Now girls Band will bounce off my tracks into audio files, so there will be easier for the computer to process that during playback. I'm gonna click on play now and look what happened now. Garish band is freezing all my tracks into audio files, so it's gonna be much easier for the computer to handle them while I'm playing them back the knife. I play it back. What you're hearing is the actual bounced track. Now these bounds tracks are stored under your project file are going to my finder here. This is my project file. If I right click on it and go to show package content, I'm going to media here. Found this folder called Freeze Files got all my audio files here. When you click the play button on top, Garish, Ban actually plays thes instead off the actual effect and plug ins just to make your tracks much lighter. If you want to unlock some tracks, you just need to click on it and then you'll be able to alter them and change them around. So this is a good way for you to lock your tracks and improve the performance off your back . 17. Basics of Compressor and Limiter: the compressor and limiter I used to control. How much level off the signal changes. If you have a quiet part in your drums, for instance, the snare the compressor will help to bring these area up in levels, maintaining the loudest level the same. I will touch on the limiter a bit later, as it would make more sense after understanding the compressor. So let's open the compressor here. So, first of all, I solo my piano here, and I'm in the smart controls. And on the left hand side, I've got my effects, including the compressor. This case here, this was a preset for my piano. So these effects have been already applied by five. To add an effect such as the compressor, I would have to just click on the parts and down below and choose the compressor on the dynamics compressor. Now bury mind. The plug ins are distributed as the signal flow from top to bottom. So the signal flow is the audio signal that goes in from the top and goes out from the bottom of the speakers or reference the top piece year. My channel equalizer the bottom. Use the tape delay now If you already have an equalizer on top of our signal flow, we need to decide where to place the compressor, either before or after the equalizer. If you use the equalizer to enhance certain frequencies, placing the compressor after will squash those sounds. You work so are to bring into life if you decide to have the compressor before the equalizer. These one effect your frequencies that much, but in my results and distortion, since the compressor cannot tame them as it placed before the equalizer. If you tweaked your equalizer previously in the track, make sure to change it again if you place the compressor after. So that's open the compressor here. So when I click on the compressor now, these are the four parameters that we have available. Let's have a look at these parameters in depth, so the compressor as these four parameters encouragement threshold attack ratio in gain. The threshold is the level in which the dynamic process, er, will take effect. So when the level reaches the treasure old, the other parameters will kick in as well. The attack is our quick. The process will take effect once the signal crosses the threshold. The ratio is how much the processor will do once the attack is kicked in. So, for instance, if the signal is higher than the trash off four db and you sent the ratio at 2 to 1, the compressor will only allow two db above the threshold. The gain increases the level of dynamic signal, and you may notice that the quietest areas of your instruments or voice will increase in volume. The limiter is essentially compressor with higher ratio that can vary from 10 to 1 20 to 1 or even more. The limiter is used also in mastering as it tames the signal and will avoid distortion. So if you set the limiter to, let's say, minus two db your signal one cross that trash killed anyone. Clip and sound distorted. But let's have a look. How to use the compressor first. If this sounds too overwhelming to you, do not worry. You can still access to the presets here on the pop up menu and choose one of these parameters here. So, for instance, from dealing with piano, I can go to keyboard and change the keyboard sound from here. So let's say how it sounds without any compressor. So I'm gonna just click that button to turn the plugging in an office. You can see I can turn it on off. And now he's great out. I want to do it that from the plague in area by turning it on and off. So if I play my piano solo and I let's say loop on Lee are the first part, and you just look the first part here and play it turning these now is off doing out. Hardly hear any compression here. So what I'm gonna do now, I'm going to play the piano again and I'm going to increase the trash hold on, going to also increase the ratio and sort of 2 to 1. I'm gonna go towards eight or more and see how the sound changes and what I'm gonna change the attack. I'm gonna play with a gain the very last stage. So let's play the piano again. Not gonna move the trash old from minus 20 mon Istante minus 35. If you hear difference between now minus 20. I'm ready hearing some changes there. But now I'm gonna go to the ratio. I'm gonna be kind of more heavy on the compression who, as you can see here by going from 2 to 1 to 6 to 1, the sounds changed completely. So it's much more compressed here because I went kind of hard on ratio. If I also change the attack and short and it make it faster, I'm compressing it here A lot in the attack is super fast. You put it is you know me seconds. It's just applies the compressor straightaway. Finally, we did a bit of a space making attacks slower. I can actually hear more transient going from the threshold. More sounds going through the threshold. If you want to play a little bit with the factory settings, you can go here and go to keyboard. Let's try pop piano. Let's see how the pop piano looks like it looks like it's around 22 db If I play that again , I think the compressor enough. That's a good compression. Actually, the user gives me enough attack time. So, of course, low attack. I've got minus one d being gain. I can actually play with again and make it little bit better already sounds better. And the compression specialists, minus 22 which I could actually tweak as well. I could actually leave it here. And this is a bit compression. Thing is, without his wooden, this is without tonight on kind of very subtle, but it's there, and it made the change that we wanted. So there's also another technique when used. The compressor and thes technique is called parallel compression more. You basically do. You double up your track and then you likely compress one channel and you heavily compress the other one. And then you will increase the volume slowly on the second channel to hear difference. I'm gonna show you how it these works. First of all, I'm gonna hold down the old key option key on my keyboard, and I'm going to drive the piano down to duplicate that. So I've got duplication here, Of course, the same regions. And what I'm gonna do, I'm going to solo the first piano, and I'm gonna actually I'm gonna solo the second piano. And in the first beyond, I'm going apply very light compression. So I'm gonna go to my compressor here, and I'm gonna go into factory settings. And by the way, to reset the presets, you go to more under the public menu and you're going to recall default. And he goes back to the original people settings. So I'm gonna play that back, apply just light it light complexion, leave a little space on the attack and apply one db 05 would be enough. Perfect. Now I'm going to close this. They're gonna go to my second channel here. Duplication. I'm going to solo that track and I'm gonna open the compressor here as well. In this case, you're gonna go a little bit heavier. And the other one gonna play that again. One increased the treasure. Se 35. When I go into the ratio here, be kind of hard in compression. The PRI's the attack. Make it very fast. Probably seen it too much. The piano. When you play with the acoustic instruments, you got to be careful how you compress. That's the difference. Now, if I leave it as is and I now unsold it going solo, the other one. I'm gonna decrease the volume of the 2nd 1 and I'm gonna play this and then I'm gonna slowly increase the volume off the heavy compressed piano and see how it sound I can hear the 2nd 1 kick in, so I could probably kind of pun the two in the opposite direction just to give a little bit of space and see how it sounds. Find mute. The second piano heavy, compressed one go a little bit higher here. So this is parallel compression. And this is a technique that many mixers used urine mixing and mastering on. Also, if you want to make your instrument thicker and warmer, it will be a good idea to double up your tracks. So this is very subjective. So it is really up to you if you want to double up your tracks. But I usually used this technique with my main instrument, in this case, the piano and also with the drums as well. So used the same sort of technique for drums or for percussions. If you want to make them more present than more prominent in your tracks, we're gonna talk about the Limited later on the mastering section, play around with compressor, practice your craft, make sure you get the right sound, and I'll see you in the next year when I'm gonna talk about the reverb and delay 18. Exploring the Reverb: reverb is an effect that gives space and depth. It is what we hear when a sound as multiple reflections, building up and decay in space. We hear reverb in rooms, concert halls, cathedrals or chambers. We can create these effects easily in workstations like garage Band. We're going to use a piano for this example Here in this Markon trolls, we already have a river NOP. They'll begin. Tweak. Let's have a look at that. So I'm going to just loop these piano. No way. No. But now girls band comes with other river Prague gins that we can apply to our tracks. In this case, you're gonna just turn in a bold way down and go into my plug ins area here. I'm gonna add a river from the menu. You can see I've got four types or re verbs. I've got ian verb, platinum verb sealed reverb and space designer. Now the main component of a river. Plug ins are wet and dry ratio and reverb time. Now, if I click on any of these and I show you the plug ins, as you can see, as soon as I added the plague in this mark controls ended these other panel here on the right hand side. If I tried to turn on and off my switch, I can see which one I great out. So these on here, who sometimes you might find other parameters in the river plug ins such as this like attack sustained holding density. But you also find it dry and wet down here. So dry is the dry signal without the river. And what is the signal where the river is? If I now place track and play with dry and wet? No change that wet fader old the way to the right. I can hear more reverb. One Teoh reduce the dry. I go just all the way to blast wanted to. Now I can just hear the river signal. I also have some resets appear e choose for Easton's rivers, but others That's a look at the other way. Go to platinum verb gives you pre delay just that. It gives you a pretty lay reverb time. Hi Kat spread and able to dry and wet the main ones again. Not wet and dry. And remember time in black in verb. Here we have a river time, so sometimes I change the river Time to make it last longer. I change the dry down and put the dry up a little bit. Like what sounds with river, Of course. I've got the priest. 30 of goal. Big room, right Long verb Church, church. You affect Booth. We also have the other verb city of the silver verb. But the one that I use the mostly is a space designer. The space designer just gives me three parameters. Very simple. The length of the reverb, the dry output and the river about but which is the same as dry and wet. Essentially. So if I now play can now push their even out but being present. So it gives you such a beautiful effect. And you can also have plenty off presets. Here you have large spaces, medium spaces and so on and so forth. And you can actually go to sub man you here and your like a huge list off Plug in to do an experiment and find the one that you like and you can tweak around the gun and go to that say, large warehouse. And if I play that on and then you just play around with dry on wet signal way. Play around with the river plug ins and I'll see you in the next video when we're gonna talk about delay. 19. Exploring the Delay: Let's have a look. A delay. DeLay is a copy of a signal that is then repeated back in time and the original signal. It is usually measured in milliseconds, but some delay plug ins. Use other measurements, like eighth notes. 0/16 notes. The key components of a delay are wet and dry ratio like the ones in the previous class on River and another kick elements that you find on a plug ins is feedback. And these controls how many times a delay repeats. And like in the river, you also find other parameters that can be triggered. A swell. Let's have a look at the ones available here. So I'm gonna go to my plug ins area here and I'm gonna click on DeLay. He have got five kind of delay, of course. DeLay, designer echo, simple delay, stereo delay and take away. Now I'm going to delay designer. It's very similar to the one that we saw before in this space designer in the river. But this has an additional parameter, which is the feedback amount and also has a feedback switches Well, so I can decide to have my delay repeated and here I can control the repetition. So that's played the piano again and going to turn off the river from now just to show you what the delay does The moment the dry and wet fader is the old way to zero to be. I'm gonna just turned wet signal sliding down. Just put the dry signal up to make it more prominent. Nice project. The box next to feedback enabled. It gives me a nice effect off repetition. But of course I wouldn't play that all the way throughout the song. I probably would choose to have their enabled at a certain time with the very end of the song. I can also automate this feedback at a certain time off my track. So let's explore some off the presets available here. We're gonna play the track, and I'm going to change its presets appear. So let's go into menu A. So I was saying before the main components off a delay are also eighth notes and 16th note , so I could actually choose one of these. Try. Let's try 118 Slow pan. It's no bad trying some things lower than that. One 1 16 is gonna be faster when you find the one that you like try 1/4 again can apply the river Baseball. Be careful. So how you position this plug ins? Because now we have in the river before and the delay after we might wanna have perhaps a delay before the reverb. So then the river will produce and create that reverberation out of the delay. It's really up to you how you want to play this, But if we play that back now, I think it feels more organic this way. But it's really up to you, of course. So this is what the space designer does. But we can go back here on the delay and choose another one You can go to Echo, which is another kind off delay. And now we have different parameters here on the right hand side of ours. Mark controls and I can go here on my echo, play the trek again. Goal he a time repeat collar, dry and wet again so I can go here on the time and change that to be, let's say, 1/4. It's quite nice. I believe in the old context of the delay is an effect that you don't want to necessarily apply for the entire song. It really depends on what instrument is going to be using the delay and how you're going to apply. That is also very nice to have the delay, for instance, um vocals such as this Vogel down here, I can actually have a delayed. And so if I want to apply the delay, there can go to my vocal hair. I can go to my DeLay designer, see why no on, Let's play the vocal at the end there, that's what it does. It just repeat the last part. I want to use the feedback. I can just think of the fit back and see how it sounds with back ah repeat itself until it decays at the very end. So this is the way to use the delay. Play around with the delay in the river. Now that you know where to find out how to use them. Practice a lot used them in your tracks. Are we also going apply some of these plug ins in the mastering as well. I'll see you in the next video 20. Ambience effects Chorus: Now let's talk about Gambians. The ambiance effects available are many, but the one that I use the most are chorus, flame, jer fazer and Trammel. And that's what we're gonna cover in the following classes. Chorus is an effect that converts a sound into many, creating the illusion of multiple Easter mints or voices playing together does not consider an acoustic simulation, but rather a special electronic effect. You can apply chorus to anything you think appropriate, and in this example we're going to use it on a vocal track. So I'm going to play this track just on these area here on this range. Your gonna look that for a sec, you're going to listen to all the tracks together, and then we go into solo the vocal and be going to apply a chorus effect in it. So let's listen to it first, going back in time. Nothing. Okay, now the voice is just compress little girl with a bit of equalization and nothing else is just the light river pier. But it is not a fact in terms off chorus or anything else who we're going to apply now, the course I'm going to solo the track and gonna play that without any effect, Going back in time with painted UAVs of grin. OK, now I'm going to apply the chorus. I'm gonna go to my plug ins here on the left hand side and I'm going to my modulation chorus Now, the chorus looked like this. You got it. A bit of mix here. Intensity 10% and the rate is 500 hertz. So let's listen to it with these off first, and I'm gonna turn it on while I'm listening to it. Going back in time with painted UAVs could increase the mix slightly. Carlos fade on the intensity. Nothing that you see before. It's quite dramatic here, going back tens. I just been effective painted UAVs of greens without Carlos Fe behind. Nothing that you see before. Okay, Looks like that Applying the chorus compromise is the volume slightly So the voice went quieter. But there is a technique that we can use, which is called doubling, and many engineers use this to make the tracks more prominent into the mix. So what we can do Is this essentially what I'm gonna do? I'm gonna remove the chorus from this track and I'm going to doubling this distract by holding down the option key alter key on the keyboard and drag that down so it will make a duplication off the track, including the regions. And then I'm going to play these again by going apply the chorus on the second track here. So I'm gonna go to my make sure that you highlight the second track you're going down here on the plug ins and of course I'm going to my chorus again, and I'm gonna apply the same sort of mix it'd before I just increase the mix. Second, also, increase the mix on the smart controls here. The intensity here was quite, um, into the eighties here, 80% or so and the rate I will just leave it as it is. And I'm going to replay the track and going to slowly increase the volume of the second track with the chorus to see what's the difference. Going back in time with painted wolves of grin. Kahlo's fe behind nothing that you see before Okay, I made the track a little bit more prominent. There is also another technique that we can use to make the track more interesting is by moving the second region, the duplicated region slightly to the right. So it makes a little bit off delay effect, and it will make our voice more interesting. Gonna just zoom in office that the secret is by zooming in, Let's say roughly their life in the middle and then gonna move the second track slightly. And I'm gonna play these again and see what sort of effect I've got now going back in time with painted woes of grand cause. Fade behind Nothing that you see before okay, definitely sounds better than before. Let's play with the whole context and let's see how it sounds when she's just unsold these tracks and play that part without the look and just before the verse start going back. So this is the chorus effect. Have fun user in your mix wisely and also consider to doubling your tracks if they need a little bit more boost issuing an Expedia when we're gonna talk about the other ambience effects 21. Flanger and Phaser: Okay, let's talk about Flame Jer and fazer. Flame Jer is a single short delay the cats certain frequencies and doubles others and work entirely on time based. There are many types of Flame Jer, where you can tweak feedback, filtering polarity and modulation. We hear these sounds, usually in guitar tracks and also in albums from the sixties where this sound was introduced. Phaser is similar to the flame jer facts, but it effects frequencies rather than the time like the flame jer the flames were, and the phaser also called time delay effect as they allow the original signal to go fruit unaltered and generate a second identical signal with the effect but offset a little bit from the original signal. Does time delay. Let's have a look at how we can apply these effect toe our guitars here, So I'm going to play these guitar in solo, and I just looked it. I also disabled the paddle board and the I'm designer because they already have some effect here, so they want to blend these effects with the flame gyros. Well, well, that's play district without the effect and see how it sounds. Okay, let's now apply the flame. Jer, I'm going to go down here. The bottom. I'm gonna put flamed. Iran, by the way, is under modulation. Ranger. Now the Flinders is here, ongoing not play the track again. I'm gonna do A and B turning on and off the way E can play around with a mix lingo increase the percentage. I think this is a sort of facts that we can achieve with the flame. Jer. Let's apply now, the phaser going to remove the flame jer and put the phase hearings. That and this is how the phasers sounds like way things video. The phaser affects the frequencies the flame jurors affect the time. So they're very similar as facts, but they produce different kind of sounds and color to you. Mix feel free to experiment the flame, Jer and phaser Not just on guitars, but also on other tracks and other instruments. This will give an interesting color to your tracks. Now I'm gonna close thes plug in. Gonna just enable the pedal boards in the arm designer on the pedal board, we have the option to go to modulation he on the right hand side and choose one of these petals you can see here We got Cora's. We have facer, We have flame jer tremolo etcetera. So if I go into phase of for instance, I can apply the phaser to my track and I can turn the phaser down here because this is just an additional effect. I'm gonna just turn it off and played track again again. It gives me rate down on feedback that I can tweet around eso. Sometimes you also find effects like this in a dump designers. So if I go into my amp designer now and I show you how the UMP designed looks like this where you find additional effects that you can apply to your track now you have here tremolo and be brought a, for instance, what we're gonna talk about in the next class. And you can apply someone use effect without adding any other plug in. But if you want to have more control off your flame, jer off fazer or any other effects, feel free to add that in because it's going to give you, of course, more parameters to tweak your sounds. In the next class, I'm gonna talk about tremolo 22. Tremolo and Vibrato: tremolo is an effect that fluctuates the volume, and it's easily confused with the Bradley effect, which fluctuate the pitch. The so called tremolo on electric guitar that bends the strings is actually a vibrato as you affected in the pitch of the strings and not the volume. Let's take a look at this using our guitar track here, so I'm going to add the tremolo and I'm going to turn the tremble off first. I'm gonna we're gonna listen to the track without the tremble and going on. Then apply the tremolo while we listen to it the way the tremolo, which affects the volume, we can change the rate here to be safe, faster or slower. So let's try weight off of the time. Increase the volume slightly faster. Gonna goto makes it sound more interesting here. Of course, I will probably go down to 18 or 1/4 for these guitar because it's not a very fast track. And then I can also double the track and do the same technique that I use before with the voice. So now you know how to use the ambience. Effect that fun. Make sure your experiment this facts with your mix if it requires it and I'll to you in the next radio when we're gonna talk about mustering. 23. Mastering your Project: Let's talk about mustering. One of the many features in Garage Band is to be able to control and no tomate the overall volume and effects of the entire project dis achievable by enabling the master track. So we're gonna go into track on top and click on Shore Master Track. Now muster Track will show up here at the bottom all our tracks. When you click on smart controls, we're going to see a preset. He apply gains on the left hand side and all the different knobs that we can tweak here. You can easily apply fading off fadeout, and also you're able to probably muster your track by using presets effects and third party blag ins as well. Enoughto apply. Fade in and fade out like you just need to go into mix on the menu, bar on top and click and fade out. You can also apply Fade in manually. So if I could come fadeout now is going to enable they fade out. He at the very end so I can see all my automation here and Aiken drunk. That too, all the way to the right. If I want to and change one of these notes as my liking. And then you find out, play the track here so I can apply fading by doing the same thing at the beginning by just clicking on the line and do the automation as you learn in autumn ations. Same thing to delete the automation. Gonna highlight them all. Here. I'm press backspace. I can do the same thing at the end under the same here. If I double click on the note, it would delete it as well. So let's go back to our normal view by pressing a on your keyboard to hide the automation. We're mixing a song with balancing all the different elements so that they sound well together without interfering with each other. Mustering is all about optimizing you mix. We also need to make sure your song as a quality consistency throughout different speakers and environments. It has to sound good on at firms on speakers, in car stereos and other devices as well. If you are mustering multiple songs, we need to make sure that there is continuity in the sound quality. Achieving this quality takes time and practice, so then get discouraged as GarageBand can help you greatly when it comes to mastering, assuming that you have gone through the mixing process and all of your levels, volume failures, planning knobs and automation zehr finalized. The process of mustering is done mainly on the master track and the overall sound. After all, this is a crucial point as what comes out from the masses. Attract is your final work that you can then share with the world. A little tip is to listen to your favorite musicians and listen to their songs and music and try to imitate that sound. You make some mustering. Also, make sure that if you song is very similar to one of your favorite artists of your favorite music, make sure you can compare that with your mix as much as I can teach you about mixing and mastering your project. Overall sound will be up to you and your taste. When you make some master, you need to leave in the green, and what that means is make sure that all of your track meters do not go to read yellow meters. Okay, as long as it will make the overall master track red. A common mistake is to raise the volume off certain tracks to make them louder on when you export your song. Garish band will try to fix those levels by lowering down the volumes and that my result in thinner sounds on low volume. One of my suggestion is go to garish Manana menu Bar on top, go to preferences and go to Advance and make sure that auto normalize is UnTech. Also normalizes essentially limiter on top of the limiter that you already apply in your mustard track. So I will probably turn these off and trusting your mix and mastering skills rather than this. But if you feel uncomfortable in mustering and you think that your song require the bit more boost, well, feel free to try this out and see how your song sounds like at the end. This case, you're gonna just leave it unchecked and I'm gonna close it. If you mix a few songs to make an album, it's best to export each project we know plug ins or effect in the master track. So make sure all these pliancy on the left hand side on the master track are all great out . Also go into EQ you and make sure that one is great out as well and under effect. So make sure that switch is off and nothing is applied even the echo. Then you ready to export your track to export your track. You just go into share and click on exports song to disk. You'll serve other option to export. You can export to Soundcloud Oto iTunes if you want to. In this case, if you do export song to disk and you exporting to that stop, create a folder. Where you going to export all of your project and exported either in a f f or way form which are run compressed on. You can then reimport them into an empty project and then most of them when I close that because in this case here we go into master our track directly in the project here. Ideally, you want to use a set of plug ins on a master track. There will be suitable for all of your songs to keep consistency. But in this case, we're going to work on Lee in this project. So I'm gonna have to export any mix I can work directly. Yeah, and master my song down here on the master track if you're still not familiar with the plan , begins for mixing and mastering. Just go back to the videos when I'm talking about the 11 essential elements off mixing, mastering and also all the videos about the plug ins that I explain and went through. But if you want to be quick and try some of the mustering preset available in garage bent, just go on top left here on the library, make sure that your master track is enabled and highlighted and choose one of these preset here. Now I'm going to play these presets and I'm going to play my song at the same time. So I'm gonna just press play and go through these presets here. That's press play. So let's dry classic Go Back to Ballad. There's now the plug ins are enabled. Let's go defense. We're trying to make sure that these volume is up to zero. Gonna hold down the old key and click on that volume to go back to zero db, Go back to just just preset emphasize high frequencies. Since you came presets emphasized based remedies. Okay, there are definitely some preset that we can use an experiment, but the main ruling mastering is essentially using three fundamental plug ins, and these are gain compressor limiter. So the one that I use the most of these three and I'm going to basically now removal this blag ins here, I'm gonna close the library and I'm going to removal display gins by clicking on not plug ins. So I've got just an empty slot here and I can start from scratch, so I'm going to add first of all the gain, and then I just moved that on the top. The 2nd 1 is gonna be my compressor. In this case, I'm mustering, so I'm going to be using a multi presser now. The difference between compressor and multi presser is that multi presser is a multi band compressor which allows you to apply compression two different range of frequencies. But this does not mean that you cannot use compressor as well and really depends of the kind of music that you must have. And then at the very end here, I'm going to apply my limiter. So I'm gonna go to dynamics frankly, can't limiter. Now, I'm gonna go to the gain and I'm gonna put the game here we're gonna start the master our song by listening to it from beginning. First of all, gonna press play and I think thes song require the bit of gains are going to increase the game Always keep an eye on the volume on top and in the master track here, make sure there's always in green. You can go in yellow but not read a preset that I using Multi presser here. I'm going to the presets. Fast attack for Bend Look how track changed dramatically since song sounds much louder, but I'm actually heating the reds, so I have to go into the limiter. That's where the limiter is. Sort of comes a savior because I actually go back here and make sure that my output level do not exceed minus one db on Let's play the song for arm roughly here where my drums starts to kick in and press play. So I probably to go back to gain slowing down the game since you came. No, I'm not inbred in yellow there. Okay, It sounds much better. It doesn't clip and also this song is not even two minutes long. But when you must be your song make sure that you catch the loudest part where you need to tame the levels using the limiter, and then you can go to gain and multi presser if you want to re compress a signal. Just had another compressor. You contain all the sounds. You can make your music louder and thicker. Also make sure that the auto normalized on the guards. Band preferences is ticked off, so garish man will not limit your sound again and reprocess your levels again. These are the three that I used the most on many mixers and mastering engineers use as well . But feel free to experiment on the library here with a different preset that you have available and then you can tweak around. So if I decide I want to go back to ballot but still use the principle that you learn in this class, I can still go back here and add my gain at the top at my multi presser, which already have, and the limited down here. And now if I play my song again and go back to gain again on increased the DB loudest part of my song, make sure doesn't clips, you will depress fast attack bend. You can change with collar off the mixing from here back to limit slipping now. So I have to go back here into the limits and make sure I'm kind of mine ist one day be play that back again during the game to match you with that. The excited is one of the field so that we can apply to announce certain harmonics in our mix. So if I play the song from here and I enable the exciter and I opened the excited track here, you see, I've got frequency and I've got harmonics so I can choose a frequency from 20 hurts all the way to 20 killers and announced that. So let's play the track again. I want to go into the wander Hurts, which is a low frequencies came on, increased their mornings and also a B test. This is well, - the's are the basics off mustering. You can definitely experiment and export your track. Using this principle, always remember to use gain compressor and limiter in your mustering track. So used this blag ins and your song will sound louder, warmer, thicker and with a little bit of character as well. When you exported, thank you so much and I'll see you in the next video 24. Sharing your song: after mixing and mastering the last stage would be exporting your song into your desk or share it on the Internet. So let's have a look here on top on the share on the menu bar, we have several options. The first option is to export your song into iTunes. So when you click that is gonna give me an option to Titley to put name of the composer of the artist the album name the iTunes playlist Phase one and also I've got the option to choose or quality. I want to export it, as the other options got here is grayed out at the moment is export cycle area only. This will only work would only be available if you highlight an area here on your project, for instance, if I now enable the Cycle Region and I select a specific area here, say I want to export Onley. These part here, when I'm going to share song to iTunes, is going to now give me the option to take that and to export Onley select part disconsolate for no, let's go into share again. The other options is to export your song as a ringtone. Toe items I will suggest to use a separate project to create ringtones. But if you really want to export your project as a ringtone, you can do that and click on it. Be aware that when you do, that garish Ban would only allow 40 seconds off your project to be exported. We just close the cycle region here. Let's go to share again. The third option here on top, is song to Media Browser. This will bounce your project into a file you can access from any other applications that shares I movie Final cut pro I photo or any other third party software. So the media browse essentially is thes button here on its opera and Corning. Garish bent. You'll find these media browser anywhere else in your Mac. The other options below here is song to Soundcloud. Soundcloud is a free sharing platform that will let you share you sound file on the Internet. Then we have air drop and we there drop Aiken. Send these project to my iPad if I want to carry on working on my project there or if I want to share it as a file, I can also do that as well I can send these also to my I, Mac or any other apple device and carry on working. This is a brilliant way and very fast away for you to send something to any other devices you're to have. Male and male will let you just email your project or song somewhere else. You will have the option here to send as a project or as ah, finalized file. Don't we have export song to disk? This will bounce your track and it will let you choose what quality you want to export your project. So if I click on that is going to give me these four options down below. I've got a C, which is an apple format. Then we have MP three A. F and wave the A F and wave our own compressed formats, and I can choose between 16 beats, which is a CD quality. All 24 bit is really up to you how you want to export it, but I usually use a F a wave if I want to keep it as a record for my future reference. The other option is grayed. Out is burned song to disk. Now, if you have a CD burning or DVD burner. Connect your Mac. That option will be available. But you would have to put an empty CD inside your city burner in order that to work. Then we have project to gather spend for us. These works on Lee if you have an iCloud account. So when I click on that is going to give me the option to save it to my iCloud drive so I can access that to any other Apple devices? Let me counsel that. But for these exercise, I'm going to export the song to disk. So I'm going to do that. I'm going to choose a FF, and I'm gonna leave the track name as it is. Frankly, can't stop here on the left hand side. Anchalee could export. Now GarageBand is going to bounce all my tracks into one file onto my desktop. I'm gonna minimize garish bend, go to my desktop and this is my finalized track that I can play now. So now you know all the options that are available to you for sharing your project from garish bent