HOW TO MIX VOCALS IN LOGIC PRO X: A Beginners Guide to Easily Mixing Hip Hop Vocals | Kia Orion | Skillshare

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HOW TO MIX VOCALS IN LOGIC PRO X: A Beginners Guide to Easily Mixing Hip Hop Vocals

teacher avatar Kia Orion, Artist & Music Producer

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

Watch this class and thousands more

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

Lessons in This Class

14 Lessons (1h 11m)
    • 1. INTRO

      1:30
    • 2. WHAT ABOUT PLUG-INS?

      1:11
    • 3. ORGANIZING THE MIX

      2:41
    • 4. SET THE LEVELS

      3:29
    • 5. INTRO TO EQ

      0:42
    • 6. EQ THE VOCALS

      10:31
    • 7. INTRO TO COMPRESSION

      1:42
    • 8. COMPRESSION

      12:53
    • 9. MORE COMPRESSION...

      4:10
    • 10. REVERB

      7:17
    • 11. DISTORTION

      4:09
    • 12. WIDENING

      2:56
    • 13. DOUBLES & ADLIBS

      13:39
    • 14. OUTRO

      3:47
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About This Class

Overview:

Ever wonder how artists make their music sound so good? It’s all in the mixing. Even when big musicians are touring on the road and recording in hotel rooms they sound professional because their engineers are so good. 

I can’t promise that after this class you’ll sound like Drake. BUT I can teach you the basics so you’re one step closer to getting there. With over 10 years of experience mixing, recording, and writing records I’ve put together the complete beginners guide to mixing rap and hip-hop vocals.

Who Am I?

My name is Kia Orion, and I started my career in A&R at Island/Def Jam Records in Manhattan. Since then I’ve spent the last four years coaching students and creatives on music production, songwriting, engineering and artist development.

I’m currently a freelance creative and educator, if you’d like to see more of my work message me on social or shoot me an email. I'm @kiaorion everywhere. 

 

What’s Special About This Course?

I’ve taken my fair share of tutorials and online classes over the years. There are some amazing resources out there. However, research shows that online learning isn't about watching, it's about doing.

I've put together the stem files for you so that you can follow along and mix with me as we go.

I'll show you exactly how I approach the project, and also give you complete autonomy to make creative choices throughout the process on your own.

Another special aspect of this course: You're not alone.

I've helped hundreds of students over the years and dedicate time each week to answering questions.

Once you submit a project you can reach out and get support from me personally.

I listen to every student submission.

This is an opportunity to network with like minded individuals and hone your skills, which is a great way to improve quickly and get support in real time. No one learns in a vacuum.

I understand that it takes time, practice, and constructive feedback to continually improve. This isn’t a one and done deal. If you’re serious about stepping up your mixes you’ll need another set of well trained ears to help you get there.

I’m a real living breathing person (for the most part) so if you have questions don't be afraid to reach out.

So, what’s next?

1) Download the stems for the class project.

2) Open your preferred DAW (I'll be using Logic here) and import the stems

3) Watch the course and start mixing!

There are so many lessons I picked up over the years and through my time behind the scenes in the music industry that have helped me immensely and I’ll share them with you throughout these courses.

One of the biggest gems I’ve learned is this: Do it yourself.

No one is going to care about your music as much as you do. If you have the DRIVE to succeed and the HUNGER to develop your craft you’ll be able to make it. This is the era of no gatekeepers. No excuses.

So what are you waiting for?

Mixing is a skill that is incredibly marketable and distinguishes between an amateur and a professional level sound.

I’m not saying you’ll become a rockstar overnight. But with what I teach you in this course and the persistence to apply it you’ll be that much closer.

 

Who is this course for?

This class is designed for artists who want to elevate their mixes, producers looking to expand their skill set, and engineers who are starting out and want to hone their craft.

As an artist one of the best skills I ever learned was how to mix. You have COMPLETE control over how your music sounds out and it’s an incredible service if you’re looking for a full-time or part-time hustle.

 

By The End Of This Course

By the end of this course you will know how to properly mix rap vocals using: EQ, Compression, Reverb, Distortion, and the theory behind each. I walk you through each step of the way and use tactics that can be applied to any DAW.

I want to be clear. This isn’t about shortcuts. This isn’t about secrets. This is about learning the fundamentals. Then applying them to your own work and taking your career into your own hands. These are tried and true methods I have learned through countless tutorials and recording sessions over the years that I wish someone had taught me at the beginning.

Check out the course preview, and if you have any questions please shoot me a message at [email protected] or on any social platform. This class is to the point, easy to understand, and fun. I look forward to working with you and helping you take the next step in your creative process! LET’S GO.

Meet Your Teacher

Teacher Profile Image

Kia Orion

Artist & Music Producer

Teacher

Ay! I'm Kia. 

I'm an artist and educator who believes life wouldn't be the same without music.

Or tacos.

I realized that I was equally as passionate about teaching music as I was making it.

In 2016 I founded Beat School, an online platform and series of educational programs to help aspiring artists and producers learn how to make beats, accelerate their growth, and stay inspired. 

I'm originally from New York but these days you'll find me traveling around the world writing songs or playing beats on a rooftop somewhere.

I appreciate you stopping by, and if you'd like to get in touch you can DM me or shoot me an email at [email protected] 

Life is too short not to do what you lov... See full profile

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Transcripts

1. INTRO: ladies and gentlemen, are you ready? Where's my theme music? Ladies and gentlemen, welcome to Mixing for Dummies. 101 wrap things course is gonna help you understand the fundamentals of what goes into a good mix for hip hop and rap vocals and avoid the most common mistakes that I see as an engineer. Beginners made from the first time. My name's Keogh Ryan. I'm freelance creative engineer musician. Philadelphia also runs workshops for high school students on audio engineering, audio production, song writing, podcasting, you name it. I started a major label in New York, and so I saw how the music industry work. And I have that knowledge as well that I want to give to you. Once you join the classics. If you have zero knowledge discussed for you if you have a little bit of knowledge classes for you too. So this is gonna be very much or intro your basic fundamentals. I would be the project file down and then you couldn't work with me. We'll take it step by step through the process to get you from start. So check out the syllabus below. Tell me what you think. If you have questions slide in a d. M. Asked me at Keio Ryan, you can ask me questions about the course. What's on it. I hope you dig it. It's gonna be fine. It's gonna be to the point, help you elevate your game. I'll see you on the other side piece. 2. WHAT ABOUT PLUG-INS?: when it comes to mixing another thing, I want to talk to you about our flood. If you don't know players are there pretty much these different elements that you can add to attract? I'll show you a link up a video Indians. You can see what I'm talking about, and there's a lot of a lot of like a big deal about plug ins. But it's like cameras. It's like any other tool. It's not about necessarily have a super fancy equipment. It's about how you use it. I can't stress that enough. Even if you're just using stock plug ins, you can still make an awesome sounding mix. It's about learning how each different instrument, track, vocal effect, whatever interacts with each other. And that's the important part that takes time to learn. But I'm going to show you the tips and tricks on the tour. When it comes to plug ins. There are some that I'll be using in here that aren't stuck plug ins. Don't let that stop you. Don't let that be an excuse that you can't do the same thing I'd also recommend that can be expensive, but if you can't buy a lot of them have free trials. Test some out. See which ones that work for you again. Israel. Personal preference. I'll tell you which ones I like, but they might not be for everybody. Experiment with plug ins. That's part of what makes it fun and let's get into it. 3. ORGANIZING THE MIX: welcome to the first part. We're going to jump into it. Um, so this is gonna be a simple kind of run through of how I organize things. You might organize them differently. Um, but assumes you import the project. I had it so that hopefully the markers come in for you. But if it's not wherever your displays up top changed to 100 bpm because that's everything will line up better that way. So first thing I do before even play the track, um is I? I like to organize things by. I have sort of my instrumentals on the bottom, and then I'll have and I've already makes this beat. So I exports, which is to to track here. But normally I'll go through mix the beat first. I'll have another tutorial on that coming soon. Um, so I'll put the beat at the very bottom, and then I'll, uh, sort of make my way up from there, so it will be the same way. Organized my instrumentals as well. The most important the beefy ist stuff I have at the very bottom and that sort of work my way up from there. So ah, here, obviously we have our, uh, our beat that I have beat from mixing. Um, and this is an old track called on my Life. That's actually one of my old tracks. I wanted to bring up Something was old so that I could sort of have fresh ears for it. So, um, I haven't makes this in ages, and so this way, I'm sort of coming at it with a new a new perspective. So that way, it's like we're both kind of doing this at the same time. So first thing that I'll come in especially this is another artist track. Uh, as an engineer, you got to realize that it's your duty to make sure that the person's vision comes through and one of the best ways to do that is they might know exactly where their how they laid the track out. But for you, Sometimes things come in and they aren't this clearly labelled. So the first thing that I recommend has come in label everything that's supposed to be a He doesn't save you a ton of time in the end, save you a headache ever can. Um, I recommend the same thing when mixing instrumentals as well. So come in. Uh, I always do my main versus at the bottom. I'll do my doubles after that. Although my ad Libs. Ah, then this in the song goes pre chorus and hook. So that's why I have a pre course and then doubles for the pre course. I have a hook, low hook, low doubles ho chi ho chi ad Libs. So, as you can see, that's sort of the way the track plays out. That's why. Have organized, Um, and then the next thing that will do is we'll set our levels. 4. SET THE LEVELS: All right. So once you have everything organized and kind of ready to rock and roll, Uh, what I like to do is since is my track already know kind of how it's gonna go. But, um, just for the sake of the tutorial when I'm engineering somebody else's project, what I like to do is just sort of run it, uh, from start to finish won't run the whole thing here, but just sort of run it and give it just kind of a rough mix. And where I imagine everything sitting together so again since his minor to have an idea of where I wanted to go. But this is how I would normally run. It is, You know, I wouldn't put this on, but this is if you if you don't know when you're used to it. This just kind of cycles. Um it's also just to see that's the command on a Mac is See, um, and it gives you sort of a loop. So that way you can just play things over and over. So this is the cycle range. I'd play it, start to finish, but for now, let us take this part. I've been grinding in the city for a minute minute. Study on to come up, young man, trying to get it. Get a peek behind the curtain, come to see the way we live in if working blowers that I'm working on and so I can already tell everything's a little bit too loud, obviously. Right. So, uh, I like to take a one thing at a time. So what coming into this, what I would do is I'll take all my levels down for the doubles and my verse ad Libs. So that way I can just focus on the verse itself. We can just jump into the verse. I also know my beat is probably a little bit too loud as well. So when you're doing something like this, the highest that you can go is zero as far as your stereo out. So you never want to, because as soon as it goes past zero, then it starts peeking. And that's a mistake that I see beginners make all the time is a track comes in and it just starts peeking because they haven't paid attention to how loud it actually is one of exports. So when you're mixing. This is an important point when you're mixing. It's not about how loud you're trying to get the track. It's about getting the right balance. Mastering is then taking the mix and then making it next level so that it can be, you know, plan the radio or, you know, really bump if you're in the club. Whatever the mastering is, really when you nosh the volume up, the mixing and what we're doing today is just getting the balance of all the elements and how they work together. So what you want to shoot for just to kind of be safe is have about negative four db of headroom. Um, when you're going about mixing just so that you have some leverage, some wiggle room that you can you can always make things louder, right? Assumes of the makes. You always push it up. It's a lot harder to dial it back in once it's already out there, so keep that minor shoot for negative for about. So that's what I'll do is I'll just play the beat and the vocal and just sort of mess with it a little bit right now just to kind of get in that range. I've been grinding in the city for a minute study on the come up young man, trying to get a peek behind the curtain, come to see the way be living if I work in bars that I'm working on my raise. So that's pretty much one in the same. That's why teas white Chuck's keep it simple and plain. You focused on the people here knowing my name. So I got much time for material things. You feel me. I've been grinding in the city for a minute. Study only. Come up, young man, trying to get a peek behind the curtain. Come to see the way be living if I work in bars that I'm working on my raise. Cool. So we got that down. Next, we'll jump into the clean up. All right, See? There 5. INTRO TO EQ: Ik Ewing. What does that mean? Why do we need to queue when it comes? The vocals, one of the most important points. That's a subtracted process, right? So everything sounds better if you make it bigger and louder. But the real key is what are you taking away from it? The reason why it's important to eke you at the beginning is because everything then that you take and you enhancing the vocal is then enhancing all of the crappy stuff that's also in there. So you want to take out. This is a process that takes probably the longest to learn the most your training and might be the most frustrating at first. But it's about hearing the frequencies that you don't want and eliminating them before starting and doing anything else to your vocal tracks. 6. EQ THE VOCALS: All right, so now we're back in the file and we're gonna look at e queuing. So this is kind of the first Ah, thing that I do when I tackle a project is clean up any que in. The reason why this is important is because before you can really enhance any vocals or make them sound cool or tune them or compress them whatever you want to take out all the stuff in there, that makes it sound crappy. So you know, people might have an A C in the background or their refrigerator running. Or if your bedroom producer you might have street traffic. Who knows eso. What you can do is you might not be ableto gate all of the bad stuff in there, but you can take out a lot of this stuff that does kind of make it sound weird. So what I tend to do is when I first start with this main verse, I'll go through and I'll sort of just see what in here is. Um ah, solo it out and just see what sounds good and where we're at. So let's check it out. I've been grinding in the city for a minute study on the come up young man trying to get a peek behind the curtain, Come and see the way be living if I work in bars that I'm working on my records. So that's pretty much one and the same. That's why teas white Chuck's keep it simple and playing. You focused on the people here knowing my name. So I ain't got much time for material things. You feel me? So this is the part that that probably takes the longest to learn, Um, and can be a little bit frustrating. But remember, it's about subtle things, So these are gonna be huge changes, but is about going through and tweaking little things. So let's do it. All right. So what I'm gonna do is ah again When it comes to plug ins, this is the one that I like to use. Um, you might have a standard e que That comes with your dog, whatever it is, um, I just kind of prefer this one, so let's check it out. Eso also another piece about mixing. If you're going to be mixing vocals, you just pick a part of the song and then just play over and over and over. And don't don't worry about hearing it 1000 times. Just focus on certain frequencies. I've been grinding in the city for a minute study on the come up young man trying to get a peek behind the curtain and come and see the way be living if I work in bars that I'm working on my records. So that's pretty much one in the same. That's why teas white Chuck's keep it simple and playing. You focused on the people here knowing my name. So I ain't got much time for material things. You feel me? All right. So what I'm doing first is I'm cutting out all of this sort of crazy low end because that that I know that there are my vote. So I also know my voice pretty well after mixing it for years. But ah, there. I know that there aren't gonna be frequencies down this low in my voice, and so I'm just cutting that out, because again, e que is a subtracted art. So the point is to take out what you don't need rather than trying to bump up all the things that you dio so I'm taking out all of these things in the low end. And if I play my, uh, to train your ear, I'd recommend not always having the visual keys on, but if we were to look at it, there aren't gonna be a ton of frequencies down here. I've been grinding in the city for a minute study on the come up young man trying to get it . So So I know my voice ends up probably around somewhere in here. I've been grinding in the city for a minute study on the come up young man trying to get it . And just for the sake of ah, video, let's turn. The visuals often suggests if we can figure out where these frequencies are. I've been grinding in the city for a minute study on the come up young man, trying to get a peek behind the curtain and come and see the way be living if I work in bars that I'm working on my friends. So a good way to find frequencies that you don't want is to actually bumped them up a little bit. Um, and so what? The's are these air different dots along the sort of e que line that you have that you can . You can add them in different places to bump up different frequencies. Um, we'll take them one at a time. So this one, you have sort of three different things. The frequency, the gain in the queue and the Q is going to be sort of the width, and it tells me here in my ah, in my plug in. But it's sort of this is how big or small of a frequency that you're isolating out. So if you're Q is really large, this can be difficult because it means you're gonna be bumping up a ton of different frequencies. So when we're cutting things out, you want to, uh, you you don't want to cut and drag something way down like that, cause then you're gonna lose a lot of the meeting nous in the heart, and, um, this sort of the the punchy element to it. So when you're taking things out, you want the cue to be relatively small and again, so it's not, you know, it might not bump it all the way up, but it'll be probably somewhere around in here and also another thing when it comes to mixing, it's about subtlety, man. Don't overdo it. You don't want to try to find something in here and then dragged way down. The point is to try to find the frequency I can. You can bump it up. Ah, bump it up in here. I'll turn my cue high and I'll try to just get a really narrow band and find frequencies that I don't want. And then when I find them, I'll pull it down and just try to eliminate it a little bit. So that's I'm going to be doing now. The gain is obviously the gain. That's how much or how little of it you're taking out and then frequencies frequency you're finding, you know, So that's going to be doing now will do that, and I'll do it in real time. With you, you could follow along. We'll try to figure out a few different frequencies. I've been grinding in the city for a minute study on the come up young man, trying to get a peek behind the curtain and come and see the way we live pulling, playing. You have focused on the people here also just be careful. If you pull up these frequencies and into, ah, high band like this, everything sounds wacky when you solo it out. So this isn't a perfect method, but this is just kind of giving the idea. I you kind of got to know what you're looking for. And right now I'm looking for like that that like, ah, gonna roll kind of sound, um, that I feel is making it some kind of stuffy down here in the low end. So that's what I'm looking for. I've been grinding in the city for a minute study on the come up young man, trying to get a peek behind the curtain, come and see the way be living if I work in bars that I'm working on my records. So that's pretty much one and the same. That's why teas white Chuck's keep it simple and playing. You focused on the people here knowing my name. So I ain't got much time for material things. You feel me? I've been grinding in the city for a minute. Steady on the come up young man, trying to get a peek behind the curtain coming So we'll turn this on and just see what? What? To give you A little bit of a visual of what we're looking at. I've been grinding in the city for a minute study on the come up young man trying to get a peek behind the curtain. Come and see the way be living. If this it was this uhm I've been growing, you'll see that this is the frequency that I was looking for right here. I've been grinding in the city for a minute study on the come up young man trying to get a peek behind the curtain and come and see the way be living if I work in bars that I'm working on my records. So that's pretty much one in the same. That's why teas white, Chuck's keep it simple and playing you focused again. I know my voice. So I kind of know what I'm looking for. If this was a regular or a different artist that had a deeper voice, this whole process would change. But since I know my voice a little bit in the higher register for me, the kind of stuffy things don't even really start until somewhere around in here. Um, you know, around 304 100 something like that. I've been grinding in the city for a minute study on the come up young man trying to get a peek behind the curtain. Come and see the way be living if I work in bars that I'm working on my records. So that's pretty much one and same. That's why teas white Chuck's keep it simple and playing. You focused on the people here knowing my name, so I ain't got much time for material things. You feel me? I've been grinding in the city for a minute, steady on the come up young man, trying to get a peek behind the curtain. Come and see the way be living if I work in bars that I'm working on my records. So that's pretty much one in the same. That's why teas white Chuck's keep it simple and playing. You focused on the people here knowing my name, so I ain't got much time for material things. You feel me? I've been grinding in the city for a minute, steady on the come up young man trying to get it. Peek behind the curtain, come and see the way be living if I work in bars that I'm working on my records, so that's pretty much one in the same. That's why teas white Chuck's keep it simple and playing. You focused on the people here knowing my name, so I ain't got much time for material things. You feel me? I've been grinding in the city for a minute. Study on the come up peek behind the in the same. That's why teas white Chuck's keep it simple and playing, you know, focused on the people here knowing my name. So I ain't got much time for material things. You feel me. I've been grinding in the city, like to hear that kind of like sound. I've been grinding in the city for a minute. Study on the come up behind the curtain coming. See the way be living if I work in bars that I'm working on my records, so that's pretty much one in the same. That's why teas white Chuck's keep it simple and playing you have focused on the people here know. All right, so again, subtle man, this this is the process that's going to take. It's gonna take a while gonna take some getting used to take Samir training. This is it. A B. I've been grinding in the city for a minute study on the come up young man trying to get a peek behind the curtain and come and see the way be living If I work in bars that I'm working on, my friends, this is with it on. I've been grinding in the city for a minute. Steady on the come up, young man trying to get a peek behind the curtain and come and see the way be living if I work in bars that I'm working on my writings. Subtle man, Settle. I've been grinding in the city for a minute. Steady on the come up, young man trying to get it peek behind the curtain, Come and see the way be living if I work in bars that I'm working on my friends again years looking for a little bit of clarity Take some of the weird stuff out. So when we get into it to enhancing the vocal, you are enhancing all the crappy stuff 7. INTRO TO COMPRESSION: so compression, in a nutshell, basically takes her vocal, and it brings your highs down and it brings her lows up. So pretty much evens out everything in your way for which seems great, right? Except what One of the most common mistakes that I see are people over compressing the vocals. So what you want is you want it to you. I'll post a picture. You want to see a very dynamic range, because in a performance people can talk with low, and then people can get really loud when it's exciting, right? And you want to keep that heart of a performance for an artist or for yourself. It's your own vocal track, and if you just throw in a bunch of compression and bring its gold a threshold. If you bring the threshold way down, you pretty much bring everything into this range, and it kills the heart of the performance. You lose your dynamics, but at the same time, what you want to do is if someone is too loud in the vocal performance, or if someone maybe moves in close to the mic when they're recording, you want to bring down the peaks a little bit so that it makes it for a bit more. But even listen. And you want to bring up the soft parts of the vocal as well so that it doesn't. You wanted to be dynamic, but not so much that it's all over the place at the same time. The reason why you put compression later on in the mix at least what I do is because I want to e. Q. And I want to clean the vocal up first before I start adding the compression, because if you have the air conditioner on the back, you have the weird stuff in the vocal. Still, when you add compression all the weird stuff in the back, it will bring that up to the forefront. So all the crappy stuff in the back, your mix that you don't want it will actually enhance in that as well 8. COMPRESSION: so again with the e que. That's something that I recommend. You do both with the track, so load the verse or the vocal that you have soloed as well as with the beat, because it's gonna that sound totally different when it's with the beat. And that's the same thing that I recommend with Compression is you want a solo the track and get a feel for how it sounds by itself. But you also want to almost do it in real time with the beat as well, because that's that's really where you're going to find the magic in the balance between the two. So this verse, I also know already from listening to it. There's there's a NATPE ect of compression will tackle to different aspects of it. One is your regular compression, um, your compressor that you have Ah, that you put on to Sort of like I said in the intro to this you want a sort of level out the dynamics and then another one's called a de Esser and I can already tell with this. Take that my s is air pretty strong, so I might jump into a de Esser. But let's use a compressor first, see where it goes, Um and then take it from there. So when I play this back without a compressor, I can already tell, Um And right now, what I'm using is shift and option as a, um shortcut. Because that's that's sort of it improves my workflow. I'm on a Mac, a non logic, obviously shifting option shifting all and then on the scroll. Well, I scroll up and down so I can zoom in and out. So if I look at this track up close at this verse, you can tell that the dynamics. You know, I start softer over here, and then it kind of gets progressively louder and here and then progressively lowered, sort of, Ah, it builds as the verse goes on, which is cool. And you want to keep some of those dynamics because the intensity is probably increasing as well. But you also want a level it out because that can be a little bit disruptive toe a listener if it, uh, and ends up jumping out at you. So let's play just real quick and see how it sounds. And then we'll add a compressor and see how that goes. I've been grinding in the city for a minute study on the come up young man trying to get a peek behind the curtain. Come to see the way be living if I work in bars that I'm working on my raise. So that's pretty much one in the same. That's why teas white Chuck's keep it simple and plain. You focused on the people here knowing my name, so I got much time for material things. You feel me cool so already normally needs a compressor. Ah, just for the sake of this tutorial, let's use a stock compressor because there are a ton of cool compressors out there. I have a couple of, um, but again, I'm going to show you don't have to get fancy with this stuff with the plug ins. Everybody wants to get fancy. It's just about knowing what you're doing and practice 100% practice. So this is just the stock logic compressor plug in. Every plug in that's a compressor will have pretty much the same features. It'll have a threshold ratio, makeup gain, a knee attack and release. And these are the main things that you want to look at. There are a lot of other tutorials that jump into compression much deeper. I'd recommend checking those out, just so you really understand what's going on for this. It's mixing for dummies, so I'm gonna keep it pretty simple and straightforward. This right here your threshold is pretty much telling you when the compressor comes in. So if I have it at negative 50 that means anything above negative 50. It's going to compress, which is everything. So ah, plate. And that might make it a little bit easier to see. I've been grinding in the city for a minute study on the come up young man trying to get it . So if you see the bar over here is to let me know it's compressing a lot and this meters, letting you know that's compressing a lot. So this is something that, um, it's a bit of a science. There's again. There's no right answer. What I recommend is, uh, bringing it down to zero compression and then slowly bringing the compression in and taking it from there. So your threshold again that that's just telling you when the compression is triggering. So again, if you have your way form. That's like this. Um, anything that's above or below is going to get compressed into this, and it's just telling you when it's triggering it. Your ratio. This is pretty much the amount of compression that you have. So for everyone, decibel. Right now it's 1 to 5. Excuse me, it's it's Ah So it's 1 to 1, 2 to 1, and so on and so forth. Up to 30 this is the most amount of compression that you can have, and so this is how much it's it's compressing it. So if you think about the threshold as faras telling you when to trigger, this is the ratio that it's compressing it by. So another mistake that I see a lot of beginners make is they just have way too much. The ratio is way too high on the compression and sort of loses the dynamic element of the actual track. So everything just sounds kind of flat. It's missing the heart of it. So with the ratio, I like to keep my ratio probably around. I like between like two and five. Maybe somewhere in there it depends on the track, obviously depends of its a singer. It depends of its a rapper. Um, and I'll show you what I'm looking for here in a second, and we'll figure that out. Ah, the makeup gain. This is something again that you want to be very liberal with, meaning You don't want to get too crazy. Um, the compression again, because it's sort of, um since is putting everything down into this certain range, you sometimes lose some of the volume. So this just kind of helps you make up the volume, depending on how much you're pulling the track back in with the threshold ratio. The knee. Um, this is easier to see if you have the graph. The knee is this sort of element over here. If you look up here at the top right here, it's sort of this. If something, it's either has a hard knee or soft me in the compression world where that's sort of how hard, um, how hard it the the mixed with the attack of the compression that's like how hard and aggressive the the compression is kicking in. So again, it depends on the track on what you're going for. You get really creative with this Um, but with the knee, I like a little bit more of a soft me. That's personal preference. Because if you have a really hard knee and an intense attack, it's very apparent that the compression is there. It's kind of like Auto Tune, like When T pain and sing with Auto Tune. You're really aware that he's seen with Auto Tune. If someone like Drake is singing with some auto tune, it might be a little bit less. Ah, you might be a little bit less aware of it, and it's sort of it's just a little bit more subtle, and I think compression and subtle is a good thing, unless you want to get super experimental. But in this track, especially, I'll show you Well, we won't use a ton of compression for it. Attack is pretty much how how quickly it jumps in. So the attack is exactly what it sounds like. Um, this is the amount of milliseconds that it takes before. Ah, the compression actually begins, and then the release is sort of your tail. So if that's the how long it takes for the compressor, kind of come back to zero. So something has a really long tail. That means that it'll compress it, and then it will take a while to come back. So let's jump into it. I'll stop talking. We'll do this in real time. Cool. I've been grinding in the city for a minute study on the come up young man trying to get a peek behind the curtain. Come to see the way be living if I work in bars that I'm working on my raise, so that's pretty much one in the same. That's why teas white Chuck's keep it simple and plain. You focused on the people here knowing my name, and what I'm looking for is somewhere between negative three and negative five. That's what you want. That's what I'm shooting for in here. I've been grinding in the city for a minute study on the come up young man, trying to get a peek behind the curtain, come to see the way be living if I work in bars that I'm working on my raise, so that's pretty much one in the same. That's why teas white Chuck's keep it simple and plain. You focused on the people here knowing my name, so I ain't got much time for material things. You feel me. I've been grinding in the city for a minute. Steady on the come up young man, trying to get a peek behind the curtain. Come to see the way be living if I work in bars that I'm working on my raise, so that's pretty much one in the same. That's why teas white Chuck's keep it simple and plain. You focused on the people here knowing my name, so I ain't got much time for material things. You feel me? I've been grinding in the city for a minute, steady on the come up young man trying to get it peek behind the curtain, come to see the way be living if I work in bars that I'm working on my raise. So that's pretty much one in the same. That's why teas white Chuck's keep it simple and plain. You focused on the people here knowing my name. So why so with this release, if you couldn't tell if I if I bring it all the way down so that it's a short release as soon as the word hits Boom is back to zero. But I think a little bit of a longer till my release because I feel like I just kind of smooth things out. So watch this meter as I messed with the release. I've been grinding in the city for a minute study on the come up young man trying to get a peek behind the curtain. Come to see the way be living if I work in bars that I'm working on my raise, so that's pretty much one in the same. That's why teach White Chuck's keep it simple and plain. You focused on the people here knowing my name, so I ain't got much time for material things. You feel me? I've been grinding in the city for a minute. Steady on the come up young man trying to get a peek behind the curtain. Come to see the way be living if I work in bars that I'm working on my raise, so that's pretty much one in the same. That's why teach White Chuck's keep it simple and plain. You focused on the people here knowing my name, so I ain't got much time for material things. You feel me? I've been grinding in the city for a minute steady on the come up young man trying to get it peek behind the curtain, come to see the way be living if I work in bars that I'm working on my raise. So that's pretty much one and the same. That's why teach White Chuck's keep it simple and plain. You focused on the people here knowing my name, so I ain't got much time for material things. You feel me cool. That sounds about right for me again. Like I said, for the Di essere di essere is very similar to compression. That's it's wise under dynamic, same sort of thing. This is just to, uh, that I can tell my s is were really sharp, Um, and they still kind of jump out. And so this is a tool that's used because of that exact reason where if I if I put the strength all the way up on the D s or you'll hear and it sounds like I have a huge list, which is not what you want, but it does kind of help you Ah, adjust it a little bit so that those s is it. Smooth them out a little bit. So I'll show you what I mean. I've been grinding in the city for a minute study on the come up young man trying to get a peek behind the curtain. Come and see the way be living if I work in bars that I'm working on my friends so you can see what I'm saying. It kind of just in a way, it it makes it sound like I have a stick in my mouth or something. Um, I'm like it's just too much. So let me. So what this does So what you can tell us with the di essere what this does. Is it pretty much just I just put on a little bit again. Subtle. A recurring theme. Um, you just want a little bit just to sort of even out those s is. So that's what I'm looking for in here. I've been grinding in the city for a minute study on the come up young man trying to get it . I've been grinding in the city for a minute study on the come up young man, trying to get a peek behind the curtain, come to see the way be living if I work in bars that I'm working on my raise, so that's pretty much one in the same. That's why teas white Chuck's keep it simple and plain. You focused on the people here knowing my name, so I ain't got much time for material things. You feel me? I've been grinding in the city for a minute, steady on the come up young man, trying to get a peek behind the curtain. Come to see the way be living if I work in bars that I'm working on my raise. So that's pretty much one in the same again, just a little bit. Nothing too crazy. 9. MORE COMPRESSION...: So the next thing I want to show you is the idea of parallel compression or New York compression. If you're Googling, you'll find either or lot of tutorials on this as well. In a nutshell. What you're doing is you're creating another track. That's the same of this. Whatever you have and you're just compressing it a ton and then blending that back in slowly with your regular track, so I'll show you what I mean. So I have my main verses, right? I'm going to duplicate this track. You can't see it. I'm heading command D to duplicate. I'm grabbing. I'm grabbing the vocals. I'm holding command again, Stephen. Unwilling option again to add it like that. So in case you missed it again, you grab it. You hold option. You see that little plus come up, you drag it down, and that's where that you can add a track. Another way you can compare to go to track. There should be a copy edit, copy paste, same thing I just control and drag because it's easier for me. I'm gonna track. So this is my main track, right? And again I'm staying organized. So do this. I'll do a P comp versus just rename it. And then it still has my cue on from the one that I did before. And I'm gonna drag volume all the way down so that because I don't want to hear it from the very beginning, and then I go to the compressor and again. So this time the ratio we're gonna crank this sucker way up where, um and what I might actually do is solo this just to see what it sounds like. So I can show you kind of what it sounds like on its own. I've been grinding in the city for a minute study on the come up young man, trying to get a peek behind the curtain and come and see the way be living if I work in bars that I'm working on my records. So that's pretty much one in the same. That's why teas white Chuck's keep it simple and playing you focused. So from this graphic and see, it's totally compressed. The dynamics are pretty much gone, but what it does, is it You do this if you want to add a little bit more body to your main vocals or it could be. Anything really could add this. Mixing a beat. I might add this to the kick drum. I might have parallel compression running on the kick, anything of the snare, anything that you want to add a little bit more body to. You can have this on. So I'm showing you this on well, makes it back in. So this is what it sounds like, just the regular track with no Braille compression. I've been grinding in the city for a minute study on the come up young man trying to get it , and this is what the compressed version sounds like. I've been grinding in the city for a minute study on the come up young man trying to get it again. You know so, but it's definitely there. So now what I'll do is I'll play it and slowly blend the pedal compression back in. I've been grinding in the city for a minute study on the come up young man, trying to get a peek behind the curtain, come to see the way be living if I work in bars that I'm working on my raise, so that's pretty much one in the same. That's Why teach White Chuck's? Keep it simple and plain. You focused on the people here knowing my name again your your You don't want you only blasting this. It's just again mixing so, man, it takes practice just a little bit to give somebody. I've been grinding in the city for a minute. Study on the come up young man trying to get a peek behind the curtain. Come to see the way be living if I work in bars that I'm working on my raise, so that's pretty much one in the same. That's why teas white Chuck's keep it simple and plain. You focused on the people here knowing my name, so I got much time for material things. Think about it. I've been grinding in the city for a minute. Study on the come up young man is trying to get a peek behind the curtain. Come to see the way be living if I work in bars that I'm working on my raise, so that's there's difference. It's there, but it's smoke 10. REVERB: Now that we have the compression on, we have it mixed pretty well as far as the e que And again, those aren't set in stone. Those might take a little bit of something to figure out. As we go, we could start adding the fun stuff. So this is the stuff that makes a little bit more ambient, that echo, delay, reverb, distortion, things like that. An important part about reverb to understand is that a little bit goes a long way. And when it comes to plug ins for reverb, they can take a lot of your CPU processing power. So if you haven't had this happen to you yet, a soon as you start mixing a whole session and you're mixing all the instruments as well, it can starting a per CPU really quickly. So one way that you can avoid that are using things called mixed buses. And so what I'm going to show you is how all you have to do is have one reverb plug in going. But you can pretty much have that one river plug in applied to a bunch of your other tracks . So I'll show you what I'm talking about. So you come over here to where it says send. So whatever, check your on. You'd want to go to where it says send you click send, and then down here it'll say bus. So these can be a bunch of different effects. So you have one through 10? Um, actually, over he have one Through is about as many as you need, but, um so hypothetically, one could be reverb two could be distortion. Three could be delay. So on and so forth. So this is what I mean. So bus will do Bus number one Boom. And then this pops up as bus one. Also, if you look at your mixer, which you can pop up with the X button, it's created a new channel for us down here. So you've master stereo out ox monitor box one home. So I saw you. I mean, so with bus one were over here. We're in our bus one and we're gonna go to reverb. I have a bunch of fancy reverse, but again for the store. I'm going to try to keep it to stock plug ins. So did you see that? I We put this up over here in bus one and then also over here in our ox one. It also showed up. So what I'm gonna do just to rename this again? Because I want to make sure that I'm organized because we're organized, right? As I'm gonna name this capital verb boom just so that if I start making a bunch of other ox bus channels, I know what they are. So now that I have this, um, I'm gonna close my mixer so I can see what I'm doing. Ah, you're reverb is something that a little bit goes a long way. And so what river pretty much is is when you when people were recording, they pay for fancy recording studios because they like the way the room sounds Or rapper is used to record in their hotel rooms in the bathroom because of the river. But you get if you go to a fancy studio, you might see they have foam on the walls. And that's the debt in the sounds that you get, um, more of a dry sound that you can kind of spice up later. So it depends what you're going for, uh, in my apartment. Um, you know, in this room. I only have these four walls, and so it's like I get a great sound from it. So I tried to detonate as much as I can, and then from there I spice up with my reverb plug ins. So what I'm going to do is, um, starting with this verb. Let's just you something. Usually I'll start with a preset in and work from there with this something like this. So you have your two signals your drying your wet you're dry is gonna be your actual main vocal sound that you hear with no effects. Your wet is pretty much just how many, uh, how much of the effect is on the vocal. So I like to just have my dry never 100% my dry come throw. And then I like to just like the parallel compression like to slowly work the the actual wet effect into it. So since I don't know how much this actually is without hearing it, let's so low this track and we'll see what it sounds like. So this is the way that the bus works. If I just play this track, even though the verb is on it. You won't hear any reverb on this track. I've been grinding in the city for a minute study on the come up young man trying to get it because I haven't sent any of this bus. I haven't told it. I haven't told this channel bus how much of it that I want to play. So right have my bus channel over here with my reverb and then in whatever channel I'm on, that's busing to that. Over here I have this little knob and this will tell it how much of this reverb I wanted to play. So if I have this all the way up, it's going to be playing. It's sending as much signal is it can to this reverb to tell it to play. So now you'll definitely reverb on it. I've been grinding in the city for a minute study on the come up young man trying to get it , but again, since it's rap, I don't want that much reverb on it. I want just enough for it to be noticeable. So I'm gonna pull this way back down and just like with the pair low compression, I'm gonna play with the beat because you don't hear anything a vacuum. I'm gonna play with the beat and slowly work this back in until you can hear in the mix. Some see how it goes. I've been grinding in the city for a minute study on the come up young man trying to get a peek behind the curtain. Come to see the way be living if I work in bars that I'm working on my raise, so that's pretty much one in the same. That's why teas white Chuck's keep it simple and plain. You focused on the people here knowing my name, so I ain't got much time for material things. You feel me? I've been grinding in the city for a minute. Steady on the come up young man trying to get a peek behind the curtain. Come to see the way be living if I work in bars that I'm working on my raise, so that's pretty much one in the same. That's why teas white Chuck's keep it simple and plain. You focused on the people here knowing my name, so I ain't got much time for material things. You feel me? I've been grinding in the city for a minute, steady on the come up young man trying to get it peek behind the curtain, coming cool, so I kind of like it right in there. Reverb is one of those things that comes down and goes on a personal taste. You'll find out how much you like. If I'm mixing an R and B track, I like a lot more ambience and fill up the empty space and a rap track. I don't feel like I really need that much, because the delivery is already there and it's so aggressive. So again, this post on a personal preference and I highly recommend instead of adding your reverb to your channel using these bus these bus tracks in these sends eso that way, all you have to do is having this one reverb. And then no matter what channel I'm on, I could be on my parallel compression channel. If I go to send, I go to bus Bus one says Verb my reverb. Now I can get reverb on my parallel compression channel without having toe add another plug in so user buses, user sands and again, it's about being subtle 11. DISTORTION: the next part that we're going to get into is we're kind of getting closer to the end of this of getting this part done. Um, but this is when you can really start to have fun with it. So one thing that I like to do Ah, I really like to mess. You know, you could tune these vocals. You could add delay to them, um, which we might get into it. Another tutorial. But for this one, I think there were getting pretty close to having them done this. The key that I prefer then, is to spice it up a little bit with distortion. I really like using distortion and not in the sense of totally crushing the vocal, but just to give it a little bit of spice, something that kind of makes it stick out. So we'll jump into the distortion and I'll show you what I mean. So this is just the vocal now that we have it with a little bit of compression, A little bit of delay. Excuse me? A little bit of reverb. I've been grinding in the city for a minute study on the come up young man trying to get a peek behind the curtain, come to see the way be living if I work in bars that I'm working on my raise. So that's pretty much one in the same. That's why teas white Chuck's keep it simple and plain. You focused on the people here knowing my name, so I ain't got much time for material things. You feel me? I've been grinding in the city, so this is not a stock plug in, Um, it's called Fab Filter. I love their stuff. I use, um that they're the same company that I use their e que, um, I really like their distortion and this one just because it's really straightforward And it can be, I just find that enhances the vocal a little bit. So when I'm adding distortion again, you don't want to be adding plug ins willy nilly. But I don't have ever used willy nilly in a sentence in probably years. But, uh, I like using Fab Filter because I just like the way that adds a little bit of I can choose what kind of graininess I want, depending on, um, that, you know, whether it's a tube or tape AMP. Screaming and whatever. If you have the waves plug ins, if you have the waves plug ins, they have a lot of their guitar. AMP is awesome for distortion. Again, there's also a free plug in that I really like called Camel Crusher. Off you go camel audio, Camel crusher, Google Camel Crusher. Plug in. It's awesome, great distortion, and it's free so you can't beat that. But I like fat filter because it just adds I find a little It helps it just jump out of the mix a little bit for me. So that's what I'll be adding, probably with either the warm tape or the warm tube. Um, I'm not again. I'm not trying to crush that shit out of it. I'm just trying to add a little bit of spice. I've been grinding in the city for a minute study on the come up young man trying to get a peek behind the curtain, Come and see the way be living if I work in bars that I'm working on my records, so that's pretty much one in the same. That's why teas white Chuck's keep it simple and playing. You focused on the people here knowing my name, so I ain't got much time for material things. You feel me? I've been grinding in the city for a minute, steady on the so that would be too much distortion. All right, so let's go with this. But the mix I've been grinding in the city for a minute study on the come up young man trying to get a peek behind the curtain, come to see the way be living if I work in bars that I'm working on my raise. So that's pretty much one in the same. That's why teach White Chuck's keep it simple and plain. You focused on the people here knowing my name, so I ain't got much time for material things. You feel me? I've been grinding in the city for a minute. Steady on the come up young man, trying to get a peek behind the curtain. Come to see the way be living if I work in bars that I'm working on my raise, so that's pretty much one in the same. That's why teach White Chuck's keep it simple and plain. You focused on the people here knowing my name, so I ain't got much time for material things. You feel me cool. So that just about does it for the distortion. Um, and then there are a couple other small effects that will get into, uh, after this. 12. WIDENING: This is when we can have fun. You can play around with it a get experimental. We have a little bit of reverb on it. Now you can add delay, you can add we can add distortion to it. Another thing that I like to use these buses in the sense for, um is something called the Haas Effect, which is pretty much you add a doubler and it just if you add, if you use it as a bus, you can just kind of wide in the vocal a little bit. Don't do it all the time, but it can be kind of fun. So check this out. This is again only if you have waves plug ins. This might This isn't a stock plug in, but you go to your bus and you want to send to number two. And then on this channel, we're gonna come down to audio units, Goto waves, go to Dubler. And so pretty much if you have this plug in, it's really fun. So again, I'm gonna relabel this called Dubler so that I know. And this is something that just gives you a little bit of a wider sound. Um, for your vocal and I'll show you what I mean. So you have these three lines thes three voices. You take out your direct one in depth, you just bump it up one here, you bumped this one down one. And then if you're delay, I think it's believe it's between like 14 and 22 somewhere in there. So if it's like, say, 14.5, something like 22.1 somewhere in there and then so if this is on all the way, you'll notice it's I wouldn't crank it This all the way up but is kind of cool to just add is a subtle effect to give you a little bit of wide nous with your vocal. So show you what I mean. I've been grinding in the city for a minute. Study on the come up young man, trying to get a peek behind the curtain, come to see the way be living if I work in bars that I'm working on my right. So this is with all the way up. I've been grinding in the city for a minute. Study only. Come up, young man, trying to get too much. But if you bring it back down and just gives you a little bit of death. I've been grinding in the city for a minute study on the come up young man, trying to get a peek behind the curtain, come to see the way be living if I work in bars that I'm working on my raise, so that's pretty much one in the same. That's why teas white Chuck's keep it simple and playing, you know, focused on the people here knowing my name. So I ain't got much time for material things. You feel me? I've been grinding in the city for a minute. So again, with it off, I've been grinding in the city for a minute. Study on the come up young man trying to get it with it on. I've been grinding in the city for a minute study on the come up young man trying to get a peek behind the curtain, come to see the way be living if I work in bars that I'm working on my raise, so that's pretty much one and the same. That's why teas white Chuck's keep it simple and plain. You focused on the people here knowing my name, So I ain't got much time for material things. You feel me? I've been grinding just kind of a fun effect as a little bit of width and depth to it. 13. DOUBLES & ADLIBS: Now, this sort of final part is that we're going to do is reintroduce the doubles in the ad lips . So do these one at a time. And again, this is something that, as you incorporate thes sounds in, you might want to back off maybe one your effects or the volume a little bit because the key and I'll talk about this probably a 1,000,000 more times is in a good mix. Is getting everything to glue together the right way. So we've got our main versus here. We've got our parallel compression here. Now I'm gonna play it back for you and then we'll slowly incorporate the doubles into the mix. Um, and the doubles again. This is something that to save time, you can e que it Ah, but if you want to, you can sort of take a shortcut and go to your acute that you already have, Say copy. And then you can go to you're doubles and your ad Libs insert the exact same plug in that you had, um before where is approaching two. And then you go to paste. Since it's me and on my voice and on my vocals I know that I can copy and paste and it's fine. But when I was first starting out and if you are first starting out to I'd recommend e queuing that if you have the time e queuing both your ad Libs, Andrew doubles just that you get used to your own voice. Also, if it's an artist that you're working within your engineering for them, obviously you've got that figured out, too. It won't be quite that quick, But since I know my own, I could just eat cute already, Um, and take it from there. So that's the e que. However, as we're going through these as well, another thing going to be paying attention to is the in between aspect of ah, these, like, sort of in between these little doubles when I'm punching in because there might be some access space in there that I might not need that we can cut out just because sometimes you get weird clicks or breaths in there, whatever. So we'll get into it. I'll show you what I mean. I've been grinding in the city for a minute study on the come up young man trying to get it peek behind the curtain come to see the way we live in if I work in bars that I'm working on my raise, so that's pretty much one in the same. That's why teach White Chuck's keep it simple and plain. You focused on the people here knowing my name. So I got much time for material things you feel me. I've been grinding in the city for a minute. Steady only come up, young man, trying to get a peek behind the curtain Come to see the way we live in if I work in bars that I'm working on my raise. So again, this is gonna be personal taste. I personally don't like my doubles in my ad Libs that loud. I like them too. Just sort of be a little bit more. They're sitting in the back in a sense of feeling that it gives you, um, less than actually being something that you really hear pops out at you there. Certain artists like Meek Mill or ah, Schoolboy Q that they have a really busy tracks. Their doubles in their ad Libs are really in your face. They add a sense of energy to the track. Both of Those artists are very much high energy artists. Aggressive. It's a certain kind of style. If you listen, go back and listen. If you go back and listen to a Drake track, though, like Drake, you can almost never hear his doubles. I'm not even sure if he does have doubles and ad Libs. Um, in a lot of tracks. Its Drakes. He'll just have one sort of main track. He'll also take his breaths out, which some people like to do. I keep my next, like, the natural feel, but one thing I'm going to show you here is and this is if you are a beginner and you're getting it's your dog. It might be a different tool, but in logic it's called the marquee tool. It's the sort of crosshairs. Ah, up here, right here, marquee tool and the way that I'm accessing it is holding shifting option or excuse me, shift in command. And then what I do is, um ah highlight things sort of in between these big gaps. I'll highlight these big gaps. So you highlight with your marquee tool shift in command and then you click it and then I honestly just delete it and went because if I solo this if I sold this track, I'm not sure what's gonna be in. Here's so let me solo this real quick and I see what I mean. No more Retton's one in the sameness. White tees white Chuck's simple and playing Excuse me, That was unexpected. Bless me. Blown up. So you know what I'm saying? So you can hear there's some strange There's some strange stuff in here, so I take all these out Not necessarily every single one, but just kind of the big gaps. Um, this is the most exciting part of the process, but that's what kind of comes with your an engineer is taken stupid stuff out. So take that out. And then, um obviously, who knows what's going on in here, so I'll take that out. But here's another thing that I want to show you. I'm gonna do this for the ad Libs as well. Ah, when you take things out like this, um whether their breaths and your main vocal or these little bits that you're sort of chopping out, I also recommend using a fade tool the fatal on logic I really like for these for this sort of scenario, because what you can do is then you can fade in and out. So just in case you're chopping these things and you chop out maybe the beginning of a breath or something, it can sometimes feel a little bit, um, just distorted. So what you'll see is I'm gonna fade both the out part and the in part for each place that I cut because I don't want it to be choppy or glitchy whatever. When I'm coming back and listening to it. This is just something that you should I recommend Get in the habit of doing any time you're taking breaths out or anything like that, because, um, it just makes there are little things in there, and it just kind of smoothed your mix out of it. So I'm going to do the exact same thing. Ah, for then, thes thes ad Libs again, using my marquee tool shifting command taking out these big chunks in between because who knows? I'm probably breathing doing weird stuff in there might be sneezing. Ah, so like, check this out so I can see right here. There's something in here, so let's see what? This is Nina se simp. So in that ad lib, as I was waiting to jump in and punch into this other part, I started whispering the words again to myself, where I was in the song. Who knows why? I don't know why I'm weird. Um, but all right, so now that I took these out, you'll see So it go. It keeps going on. I won't keep doing it because, uh, I know this probably is in the most riveting cinema for you, but, um, as you get as you get good at this this point, this process becomes a lot quicker. Um, And again, it's just about its these little things with you and engineers about these little things that end up adding up in the end. And then I take my faith tool again, Fade in and out. I'm just gonna fade for small bit into each of these Because, like I said, Michelle a bit easier. It was a little bit too faded. Oh, cool. And now that I have those faded in faded out Ah, for the doubles. Um, I'm going to start introducing these add lives in. I've been grinding in the city for a minute study on the come up young man trying to get a peek behind the curtain. Come to see the way we live in. If I work in bars that I'm working on my raise So that again, another part that comes with clean up. I don't really like him. Him. I don't really like myself where I say bars right here, because it kind of jumps out of me. So I'm gonna take that out again. Another thing that I might do is like I said, just to sort of even things out, keep things going smoothly is I might also copy the compressor that I have because I like those vocals compressed. I might come over here, do the same thing, go to dynamics compressor paste, the same compression, just keep things simple. And but now that I've also has have it compressed, it might be a little bit louder, so I'm gonna probably scale these back a little bit. I've been grinding in the city for a minute study on the come up young man, trying to get a peek behind the curtain come to see the way we live in. If I work in bars that I'm working on my raise. So that's pretty much one in the same. That's why teach White Chuck's keep it simple and plain. You focused on the people here knowing my name, so I ain't got much time for material things. You feel me? I've been grinding cool. So that's certainly sound good, I might add. Remember, I was talking about busing, I might add, um, a little bit of reverb and Dubler to those as well. But I'm some. I tend to keep those pretty dry, especially on a rap track, just because it can get very busy very quickly. And then it can just get I find it a little bit distracting. So each song, you've got to kind of just that to taste last but not least, ah, for the verse, we're almost there are the ad Libs. So in this part, um, I'm gonna bring these upstart introducing these in and for ad Libs. It depends how you like to do your own again. This is something that you're gonna have to experiment with. But I like my ad Libs with ah lot of reverb Just so and, um, a bit of ah low pass filter, which you don't know what that is. I'll show you on here s so that they you don't They aren't really aggressive. They're just sort of something that is in the background. That adds a little bit of texture to the listener. I've been grinding in the city for a minute study on the come up young man, trying to get a peek behind the curtain, come to see the way we live in if I work in bars that I'm working on my race, so that's pretty much one in the same. That's why teach White Chuck's keep it simple and play. So what I'm doing right now is adding some reverb to these. I like adding a little bit more reverb to the Adler's than I do the doubles. I've been grinding in the city for a minute. Study many Getty? Yeah, cool. So know that I have those. Like I said, I'm going to just this low pass filter. If you don't know Low pass filter is a low pass filter, I'll show you, but it's pretty much just the idea that everything that is in a certain frequency below what you set passes through, and a high pass filter is the same thing where anything that is above which you set passes through. So it's there are certain filters that you can add that make it really easy in here You can go to filter ah, auto filter. But I like to just kind of my take you to do it because I'm more familiar with it. So I go to my cue up here, put a point when I do Hi. Cut. And so pretty much what this means is a low pass filters anything that then is below this passes throw pretty self explanatory. But, um, how this is again, something that you're sort of adjust that taste. So I'm gonna solo these just to see how they sound. Many Getty, Yeah, saying to say who you feel me. All right, Let's see how it sounds with song. I've been grinding in the city for a minute study on the come up young man, trying to get a peek behind the curtain, come to see the way we live in if I work in bars, that I'm working on my race, so that's pretty much one in the same. That's why teach white Chuck's keep it simple and plain. You focused on the people here knowing my name. So I got much time for material things. You feel me. I've been grinding in the city for a minute. Steady only come up, young man trying to get a peek behind the curtain. I might also add a little bit of the Weidner to This is this is well, as it goes on. I've been grinding in the city for a minute. Study on the come up young man trying to get a peek behind the curtain. Come to see the way we live in if I work in bars that I'm working on my race, so that's pretty much one in the same. That's why teas white Chuck's keep it simple and plain. You focused on the people here knowing my name, so I got much time for material things. You feel me. I've been grinding in the city for a minute, steady on the come up young man, trying to get a peek behind the curtain. Come to see the way we live in if I work in bars that I'm working on my race, so that's pretty much one in the same. That's why teas white Chuck's keep it simple and plain. You focused on the people here knowing my name, so I got much time for material things. You feel me. I've been grinding in the city for a minute. Study on the come up young man trying to get it. Peek behind the curtain. Cool. So that's your ad Libs and your doubles. 14. OUTRO: All right, guys, that should get you well on your way to mixing your own records again. This is a intro level class, so that didn't cover everything under the sun. There's so much out there. I highly recommend that you go out there, watch more tutorials. I'll have more classes on more advanced concepts with the basics. Again, there's one of my do, as far as it goes, no matter what they're doing. The most fancy stuff in a crazy studio. We're here in your bedroom. It's gonna be You're gonna clean up the vocal Que take your breath suit you got to do makes you get a nice, clean, strong sound signal to you're gonna add compression. You want to balance up the dynamics, bring things into a nice, dynamic range. But don't lose the heart. Don't lose the real performance of the vocal. And then three you can spice it up at some river Batson ambience. Add delay at some distortion. You can get really kind of fun on experimental on this stage. Thistle is your opportunity to really create your signature sound. This is what distinguishes you know someone's someone signature so that they know that it's you. You have your own hear your own voice that you can kind of attack on every song. That will be your style. However, that being said, I want to reiterate for the last time as much fun as you have with plug ins and experimenting when it comes down to a good mix that really boils down to levels, making sure that things sit well together, that things glue really mesh. And that's just something that comes with time and practice. It's gonna take a while, but the more you do it, the better you get at it a bit more than here for it. If you're entering for the people that something can pick up on pretty quickly but end up interviewing yourself, you'll really learn what you like. What, what, where your voice kind of sits. Does it compete? You know, everything's made up of frequencies, and so you can't have two things in the same spot. Otherwise, that kind of battle with each other. So finding out where your voice sits is at a higher voice that might battle with snares, lower voice that might have a clash with some sort of a bass guitar piano. So a lot of this comes down to just experimenting and finding what works for you at the end of the day, mixing, really, you could have the most crazy, advanced fancy stuff and plans, but it comes down to getting your levels right. Make sure that everything in the mix has its own place. Has a voice. Thank you so much for attending the class. And like I said, Please shoot me. A message on Instagram are coming. The Facebook Group. Once you put the community setting your tracks, I really mean I'd love to give you feedback, whether it's a mix that you've done on a track or whether it's a mix that you're building your own track. I'm here to network with artists because I understand how difficult it is, especially working with students these days, how saturated the market is and the only way to get better to get feedback. I'm still looking for feedback as well to is, I grow and develop my career, so I want to provide constructive input for you, and I think a good way to do that has become joints, community artists. It's on Facebook or question on Instagram at Keio Ryan. I'm out here to just trying to develop as well. So give Michel. Thanks for attending the course. Let me know what you think. It means a lot if you dug it. Please recommend it to a friend. You know the fact that you're here and gave me a shot? Appreciate. So thank you again. And I've got other tutorials coming your way soon. So juices