How to Master a Song | Matty Harris | Skillshare
Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
12 Lessons (32m)
    • 1. 01 Introduction

      0:37
    • 2. 02 Session Setup

      1:23
    • 3. 03 First Impression

      2:07
    • 4. 04 Subtractive EQ

      3:53
    • 5. 05 Multiband Compression

      2:20
    • 6. 06 M/S Processing

      4:39
    • 7. 07 Additive EQ

      3:12
    • 8. 08 Compression 2

      2:39
    • 9. 09 Tape Plugin

      4:44
    • 10. 10 Limiting

      4:05
    • 11. 11 Final Delivery

      2:34
    • 12. 12 Final Thoughts

      0:11

About This Class

In this class we will go step by step as I master a song for rapper Cam Meekins. The topics we will discuss are: Compression, EQ, M/S Processing, Tape Emulation, Multi-band Compression, Limiting and how to send your song out for final delivery. After this class you will be able to take your song at home and give it that radio ready polish it deserves! 

Transcripts

1. 01 Introduction: Hi, Maddie Trump. I've been producing, mixing and mastering for over 15 years. I've had the pleasure of working with major and independent artists from all across the world. And today's class we're gonna learn how to master a song that your first question might be . What is mastering? Well, mastering is the final step and you're recording process. It's where we bring the overall level of balance all the sound of characteristics and take the song to the next level. So let's get started. 2. 02 Session Setup: the first thing we're gonna go over session set up. So let's jump right in. I have a template I use for every song that I master. That has all the plug ins that I use in it in any outboard gear that I will usually use. Not that will be using outboard gear today, because I want to try to keep it all within the computer so you could do this at home. So the first track is the pre master track, and already have the sun will be mastering, which is a song by Can Meekins called next time, and it's loaded right in there so you can already see that it's there and ready to play on this track or all the plug ins. I'll be using the master, the song my accused, my compressors, and we'll go over that step by step. So the output is then sent to a bus that I've labeled print to my record track, which is right here, and that's where we'll be recording our final master. Out of that, it goes to my output bus, which is where we listen to the song through the speakers and then I have some plug ins that will go over, Aziz Faras metering goes. And then this final plug in, which is on the screen, which is called SoundWorks. And it's essentially a roomy que problem, which makes your speakers in tune with your room, and I highly suggest checking it out. If you're working at home, it helps a lot. Even in my room, that's pretty well tuned. 3. 03 First Impression: Now we're gonna go over our first impressions of the song. We're gonna listen to the mix and try to here what we might want to fix in this mastering session. So let's take a listen. And then after that, we'll go over notes on what we think we could do to improve this song. Patients a house supposed to do this, but you can understand it cause you to win to your music. Young. Let the pressure hit you like it does to meet your Robbie's with some of the girls. And that just fucks with me. I want to make it work. But lately I've been feeling like it only hard. And the best parts about this don't always away the leg it is. And if we start from scratch in this game than not just get played again. I know we both got. Demons are seen him, but the rescue war is pure, like the garden, and Gideon is probably best. You know, I still remember It was ended November. I was trying to get a deal, but I didn't get no looks. But we hit it off, making memories to put into these little sauce that somewhere along the road I got into a little far. I mean, I'm sure that we can work it out. Dan, you know, I never like to happen when you're showing off and I see you act in our became I know you saw So I hung up on the phone with current told the Rock because it's just me against the world and not much. It goes when he rolled between two rows away. Okay, cool. So my first impressions of the song are one thing I heard was the snare drum. The second snare drum is a little louder than the first and kind of might cut through the mix a little bit too much. We'll go over that Also, the vocals on the first part during the wrap seem a little harsh, so I want to eat you that a little bit and try to get a little softer, a little warmer sounding. And lastly, I think the bass drum needs a little more punch and the bottom and could lose a little more . So we'll try to eke you that and make it sound a bit better. And then overall, the end will bring the overall level and just give the overall makes some strength to make it sound industry standard bill to compete on the radio. So let's get started with the tractor subtracted. Thank you. 4. 04 Subtractive EQ: now we're gonna go over, subtract of e que This is where we're going to try to take out some of the high end vocals we were talking about and maybe try to tame down the snare and see if there's any strange rumbling in the Lohan. So let's get going. Pressure hits you like it does to meet your Robbie's with some of the girls and that just fucks with me. I want to make it work. But lately I've been feeling like it only hard. So what I'm gonna do is use a really tight Q and bring it up quite a bit like upto 90 b. And then it's going to sweep through where that I think the vocal harshness might be and try to find where it is so we can take it out. Cases a house supposed to do this, but you can understand it because you're too went to your music. You let the pressure hit you like it does to meet. You're Robbie's with some of the girls, and that just fucks with me. I want to make it work, but lately I've been feeling like it only hard, and the best parts about this Don't always away the big it is. And if we start from scratch in this game than not just get played again. And so it sounds about right. So now all we do is bring the game down and we'll take it down about a db db and 1/2 because with mastering, we're just doing little broad strokes. We don't want to do anything huge because by turning these frequencies down were affecting the whole song and not the vocal. So mastering is just really about taking little little pieces and trying to make them a little bit better, but not doing too much and ruining the song. So let's take a listen to see if we were able to get some of that vocal harshness outpatients. A house supposed to do this, But you can understand it because you're too went to your music. Young. Let the pressure hit you like it does to meet your Robbie's with some I always away the day it is. And if we start from scratch in this game than not just get played again, I know we both demons are seen them, but the dress you wore is pure like the Garden and Keenan is probably best. You know, I still remember it was end in November. I was trying to get a deal, but I didn't get a look course. So I think that helps a little bit. And once we get into some compression stuff will be out to maybe tame that down, even a little more. Now. I also notice there's something weird going on, maybe in this lower mids. So let's do the same thing and bring a tight queue up and simply confined patients House supposed to do this, but you can understand it because you're too went to your music Young. Let the pressure hit you like it does to meet your Bobby's with some of the girls and that you hear that right there kind of hard. It's kind of muddy and making things sound a little, you know, not so pleasant. So let's try to bring that part that scratch in this game than not just get played again. I know we both demons a scene, but the dress you wore is pure, like the Garden of Eden is probably best. You know, I still remember sending patients a house supposed to do this, but you can understand it because you're too went to your music. You'll let the pressure hit you like it does to meet. You're Robbie's with some of the girls, and that just fucks with me. I want to make it work cool. So I think that sounds better. Very small moves, but it's definitely helping to sound a bit. I'm gonna bring this Cuba touch more, and then the last thing I want to do is I like to do is really sharp, low cut and just take it to about 20 hurts. Sometimes 25 will listen. You don't really hear anything there, but you'll the speakers feel it, and anything we can do to kind of get rid of some of low in that's that's not necessary. Gonna be heard on anyone Speaker because most people speakers don't go down toe. Barely 45 hertz. They won't here unless they have a sub. So weaken stuck this out a little bit and give ourselves a little more energy for William to the final mastery and leveling patients house. Supposed to do this, but I went to your music Young Let that should be it first attractive in Q. Let's move on to multiply and compression 5. 05 Multiband Compression: we're gonna go over multi being compression. This will be our first compressing stage in this mastering process with multi band compressor. We're gonna try to tame down that snare drum we talked about under our first impressions. But you can understand it because you're too went to your music young. So this is the multi band compressor I used by Fab Filter. I think there's a bunch of different companies that make him and it doesn't matter which one you're using. This one just works best for me s o. What I would do is I created one band here, and what multiplying compression is is it's a compressor that you can compressed by e que band so I can compress just from two K two five K if I want or I can compress just from here. And you can get multiple bands so you could do a different spot. So it's really helpful for this fixing little such little problems that you have. If you want to duck the snare out or something like we want to do so we'll do it solo this ban and play it and we'll find where the snare drums really hitting And then we can hoping , ducking down myself. Only me. You knew that. Your causing your own misery. I don't have opportunity. Like you came in that stick with me. My parents, they dont get it. Im sick and just even living Sometimes I don't wanna wake up when I go to people got expectations of how supposed to do this. But you can understand it cause you to go into your music, Young. Let the Okay, so I think we're headed. I'm catching a little high hat, so I'm gonna bring our threshold down Just a touch and hopefully we just get the snare and you'll see it hit right when the sneer hands finding myself my lives probably got killed. But how would you feel if you knew that? Your causing your own misery? I don't have opportunity like you came in that stick with me, my parents so we don't want to compress too hard. We're not gonna be able to get it all the way down because the problem we're having here is our vocal is in the same range that snare drums. And so we're gonna be really careful cause always the vocals the most important. Let's just listen again with the threshold turned down and see if that fixes finding myself . My lives probably got killed. But how would you feel if you knew that? Your causing your own misery? I don't have opportunity. Like you came in that stick with me. My parents, they don't get it cool. So I think that helps just a little bit. I don't think we need to do much more with multiple and compression. So let's move on to M s processing. 6. 06 M/S Processing: okay, So the next thing going to go over his mid side processing Q. And what essentially Miss Side is, is being able to eat you the middle and the sides separately. Teoh achieve more of a total balance and maybe take care of issues that the sides have. But the middle necessarily doesn't now. In the middle, there's usually kick bass snare drum vocals, and that's what you know, hitting us right in front and giving the most concentration point. But then there's also the size where you have a lot of your effects, like reverb and delays and also pianos air, since that are spread out symbols that are spread out. So the ability to affect the mix through men inside is really beneficial, especially for us in the mastering section of the process, to either just fix something in the kick drum or bring down the symbols of its to hire too bright. So let's take a listen and see what we can do. And first of all kind of play you made inside so you can get an idea of what it sounds like , so we'll be using. I use this plug in first. That's a free plug in from melted productions, and it's pretty cool. It's, Ah, stare a scope, and it shows you your stereo information here and then also has the mid inside information and how wide your mix it. So it's very useful tool. I use all the time for mastering, and the other thing it has is a mid inside button, which will play just the middle or just the sides. Or you can also use left and right speaker. So we'll start off the fault. And then I'm gonna switch the middle and you'll see how the sides collapsed and will be suddenly in model. Wake up When I go to sleep. I know people got expectations. A hound supposed to do this, but you can understand it because you're too you can hear. Not the city wall I could do was pray. We just lost the piano and a lot of the vocal effects. Let's play it again and you can hear it this way. But she live in another city. So while I could do was pray. I grew up around the way with cold nights, making that we pretty much just have snare the drums in his vocal and you hear the piano lightly in the back. But it's not nearly as predominant as it was when we're Troost area. So now we'll take a listen, decides she live in another city. Some wall I could do was pray. I grew up with gold right wing member restarts became and always enemies without, with some of the vocal effects, some of the river that was used on the piano and maybe the guitar. Does she live in another city? Some wallet could do was pray. And so you could hear by just doing that to be able to eke you. Those two different sections of the mix separately is great for us, so let's take a listen now with Ari Q. And what I use is the brain works. Be ex wants the BX to now R V X three now bx digital version three. And it's great because it has the side e que and you console that and then the soul, the stereo section or the side. Q. Sorry, the monolithic you and then the side, and the thing I use on this the most is this model maker and what that does, is it it brings the side low in filters it out because, honestly, we don't really want much based information on our size. We want to keep it all in the front, so it's hitting us right in the chest. So what I usually do with every mix is just bring it down, bring it up a bit, depending usually around 70 or maybe a little lower 80 hertz. Now it's E G m song. You really have to be careful because in the clubs, a lot of the times you're listening in mono and the base is the most important. So for E G m song, I'll bring it up all the way to about 200 or 1 50 But there's a lot of natural stuff going on in the low in here with the sampled drums and all that. So we're not gonna go too crazy and maybe do it around 60. So let's hear it that way. But she live in another city. So while I could do was pray. I grew up around the way with cold nights will make memories. Thoughts became energy. Friends became enemies. Nothing too drastic. It just kind of brings the low end in a little bit. The other great thing on this plug in is the stereo with. And I usually bring this up to about 1 12 and they just kind of widens out, are mixed a little bit. Check that out the way she live in another city. Some wallet could do was pray. I grew up around the way with cold, nice make memories became energy. France became enemy here. Pretty big difference that it kind of wines out our mix and pushes it out and gives it a little more energy to it. Um, I don't think we're gonna do much eq you on this because the mixes sound pretty good to me . So far, I do want to add some low in and, ah, little brighten it up a little bit, but we'll do that in the next section with additive e que 7. 07 Additive EQ: additive e que is where we can boost certain sections of the mix to give a little more punch in policies. Shine on this song. I think we're going to try to boost a little bit of high end to give it a little more brightness and polished and maybe see if we can get a little more low end out of it. To get that kick to come through a little more and maybe the base. Let's check it out. So for this step of the process, I use this manly, massive, passive eq you. It sounds great, and I like the way it works and so you can use any Q. But this is what I use. But don't feel that the plug ins I'm using you have to use in order achieve it. You can use anything that sounds good, so the first thing I want to do is just kind of shave off the top of the bottom with these high pass and low pass filters. So do usually about 16 hurts here just to get a little more rumble out, even though we kind of did that already with our pro que of this attractive on, then take just a little bit of this top topping usually 40 K or 27. But we'll do 40 for now. I don't want to take too much away. Now. We'll play it and we'll start boosting some of the high end of it and see if we can get a little shine without coming across too harsh When I go to sleep. I know people got expectations. A house supposed to do this, but you can understand it cause you to go into your music. Young. Let the pressure hit you like it does to meet your Robbie's with some of the girls, and that just fucks with me. I want to make it work. But lately I've been feeling like it only hard, and the best parts about this don't always away the leg it is. And if we start from scratch in this game than not just get played again. I know we both demons. I see them, but the rescue wars pure like the garden, and he didn't is probably best. You know, I still remember it was in November robbers trying to get a deal, but I didn't get no looks, but we hit it off, making memories to put into these little song. Okay, so I think that helps a little bit, is you can see we're just using a shelf and boosting just a bit. Thes air in small increments is the mastering version of the CQ. So it's very small increments like the max that can go is 11 d b. So it is boosting a little bit there. And so now let's take a look at the low end. We're gonna use a shelf is well, and maybe you try 100 Hertz to start off might go down to 68. Let's just take a listen and see if we get maybe a little more out of that kick a little bit more out of that low end when I go to sleep. I know people got expectations of how supposed to do this, but you can understand it cause you to go into your music. Young. Let the pressure get you like it does to me. As you can see, I always boost a lot right at the beginning, and that's just so I could really here where we're at and then we'll take it back down. Obviously, from there. When I go to sleep, I know people got expectations of how supposed to do this. But you can understand it because you're too into your music. Young. Let the pressure hit you like it does to meet your Robbie's with some of the girls. And that just fucks with me. I want to make it work. But lately I've been feeling like it only Okay, so that it helps a little bit. That's doing We're not doing a whole lot deciding a little bit of girth, little more energy in the low end, trying to help that kick butt kicks pretty mid range. We're not gonna build a get is as hard as I hear it in my head. But you know what? It's a loop. It's supposed to be that kind of sound, so I'm not too mad at that. So now that we got that done, let's go on to our final step of compression 8. 08 Compression 2: So now we're gonna work on the next stage of compression. This is where we'll be pulling the dynamic range together and giving our makes a little more glue. So let's check it out. So I'm using the very mu compressor. It's a remake of a plug in addition of the manly very mu, and it's a nice warm compressor. You have to be careful this one, because it can make the base a little weird. Unfortunately, with this dish and they put ah, high pass filter on. So essentially, what that's doing is it's letting it so it doesn't compress the low end too much because I still want to keep our low and punchy and coming through. So we're gonna do is just tame down our dynamics a bit, and this kind of give it a little more punch overall. So let's play it and we'll start setting this up. Now, before we get started for mastering or any kind of general bus compression. You kind of want to have a pretty fast recovery in a pretty slow attack, so we'll start around here and see where we go from there. So I think we'll start from the course here because the chorus tends to be a little louder on this song. I don't want over compress. We're gonna be looking toe get one or two db of compression. That's about it. So let's do it goes when he rolled between two. No way. Next way, go home is nowhere close. Next time come your way. That's no. I want to make it work. But lately I've been feeling like it only hard, and the best parts about this don't always away the leg it is. And if we start from scratch in this game than not just get played, you could hear it, too. It's also helped him down. That's near a little bit more that we're focusing on back when we're doing the multibillion compression. But this sounds pretty good. It feels like it's tightened it up a little bit. Weird is going to give it a little bit of output game because we have reduced our gained by a couple of DB by compressing it. Let's take a listen to that. Let's check our meters here. E want to make it work. But lately I've been feeling like it only heart and the best parts about this Don't always away the big it is. And if we start from scratch in this game than I just get played again, I know we both demons speak. You really feel when you, when you turned the compressor on it, brings it all up front, kind of pushes the mix more in your face. Let's move on the next step, which is an aloe tape emulation. 9. 09 Tape Plugin: Okay, so the next thing we're going to take a look at his in laws. Tape emulation. Now, I don't use this on every mix, but I do use it on about 80% of it. And what it is is back in the day when you would master a song, they would send it to 1/2 inch tape to record the final master on. And they also gave us a little more compression, little more warmth and for this song, because it's kind of got organic feel to it. I really think it's gonna help take the master of the next level. So let's go over the one I use and I'll show you the settings real quick. So this is that you A. D impacts. 80 are 102 and this is actually a replica of the actual half inch machine they used. Andi people actually still use for mastering, and it's great. It sounds awesome, and it actually has the tape there. I just had this open and I honestly don't do too much. I usually use one or two settings that when it comes with which is the 4 56 at a plus, six calibration with 1/2 inch tape, and I leave it that sometimes switched to 900 or gp nine with a plus nine and use believe happens tape or women's tape on that. But I think for this all we just leave it as is and take a listen the difference, and you're gonna hear a huge difference in this. It's going to sound. Lots better became energy. Friends became enemies without would do to make. It was great descending relationship evolved. Chose that she couldn't take the frozen feeling you get when you had no option the struggle to make a living with many problem the bottom would help Here, coming up with myself, my lives probably got killed. But how would you feel if you knew that? Your causing your own misery? I don't have opportunity like you came in that they are the only other setting we really do with this is check our recording setting and make sure we're not hitting the red too much. I like to just tap the red, but definitely don't like to be in. It became energy. Friends became enemies without would do to make. It was great descending relationship and now, Mommy, I chose that she couldn't take the ship. That frozen feeling you get when you had no option the struggle to make a living with trump over many problem the bottle would help. You see, that knob is really sensitive. So you're just turning it just really small amounts will make the difference. Became energy. Friends became enemies without would do to make It was greatness, end of relationship. And now the moment The only thing that sometimes I don't like about this is it kind of for some reason, brings up the high end a bit too much. So you can go in and open up this, you know, box or whatever, and actually bring down the high frequencies just attached. And just like the record, not these air riel sensitive. So you might not barely see me move this, but it will make a difference. Neil here it became energy. Friends became enemies without would do to make it was great is end of relationship. And now I'm lonely. I chose that she couldn't take the ship that frozen feeling you get when you had no option the struggle to make a living cool. So I think that sounds good. Let's hear it one more time. Just with or without. It became energy. Friends became enemies. When I would do to make it was great descending relationship. And now, Mommy, I chose that she couldn't take a pretty big difference. So now, just before we move into our final step, which is getting our overall level louder and making it, you know, the same kind of industry standard level that other songs are. Let's just take a quick A b of what we've done and make sure that what we have done is improved this mix or this master, I'm sorry, eso we'll play this And then I got the regular master right below. It's all just a B really quick with it so you could hear the difference we've done means without would do to make it was great is end of relationship. And now I couldn't take the ship, that frozen feeling you get when you had no option, the struggle to make a living and you problem the bottom would help. Trying to find a but in here is it's made quite a bit of difference. There is a bit of a leveled change. So that's making us think it sounds better. But you can hear it does sound a bit brighter and Brit crunchier and some of that harshness and the snare head has kind of gone away. We'll even turn this one up a little bit so that we can kind of hear the difference without so much a level difference means without would do to make It was great is end of relationship. And now I couldn't take the ship, that frozen feeling you get when you had the option, the struggle to make a living Randy problem the bottle would help try to find a but insider . I'm finding myself my life killed. But how would you feel if you knew that? Your So Yeah, I think it's made a great difference. You can really hear that snare has been pulled back a bit, and then we just got a much punchier, stronger mix that's going to translate well and take this on to the next level. Let's move on to the last step we're gonna do, which is limiting 10. 10 Limiting: right. The final stage of our master, which is limiting and what that does is brings our overall level to industry standards so we can compete with what's on the radio. So let's go over the limiting part now. So for this, or we're going to use the Fab Filter Pro Well, there's a bunch of great and limiters out there. There's the l 2007. I believe it's called. That's great Waves Make some of that work right so it doesn't matter what you're using, it's just how do you use it? And what we're gonna bring up here is this other plug and I use, which is the brain works be X meter. Now this has a couple of different things will be looking at, has the peak level, which is our overall level. And we don't want to, you know, go over that or we could start distorting. And it also are a mess level, which is kind of like overall loudness, if you will, and it's a really great indicator to kind of tell us how Lau we are overall through the whole song. It also has a dynamic range reader, which will show you how much dynamics are left in the song because the more we squash it, the less dynamics and less dynamics makes for a less exciting song. Usually so with hip hop, you know, usually get a 60 vey dynamic range. And for the RMS of this song, I want to try to get it right around six. Now that's super loud, But music's loud these days. And in order to compete, we have to kind of go with what's going on. And, you know, most artists gonna want their song allowed. That's pretty much the main thing they want out of mastering, even if they don't know it. So we're gonna try to hit right around there and see if we get close to it. So let's start with Pretty bring up our pro l and just start listening and bringing up our gain to see if we can get there. Uh, I fell asleep with Angel, and name was Gabriella could tell me your chemistry. We bonded over. It was hell in the devil with Homie deeper. Rusty inside of my jeep went out with 17 dreaming about this, they seem to the people so many people didn't believe that I had in this passion, but she was clean. It was pretty good. I feel like I'm not hitting the limiter too hard. So we're not ruining our mix too much because the more you limit the worst, your mix is going to sound. It's really going to start crunching it up in making it sound awful. We're pretty close to six. I might back off just a little bit and hope the clients happy with it. Not quite as loud cause to me. The sun was said, I'd rather the song seven better than be louder than anything else. So let's just see if we can back it off a little bit. Okay, cool. So that's fine. I think you can see it's really just compressing down our snare a bit, limiting our snare bit. That's okay. We don't mind. The last thing we're gonna do here is if you see our peak. Is that 0.1? Because I have this that 0.1 down here on our final output? That's fine, but we really want to get 2.3 zero, because when we convert to MP three, it sometimes as a little bit of gain and If we're at 30.1 and it adds 2.2 of gain, that will be, you know, heading above zero in peeking out and possibly distorting or mix from ER Master. So 0.3 is a little bit safer and, honestly, we're not gonna hear the difference. But it's gonna make our conversions much better and make the final product sound better. So that's it for our final master. Let's get ready for delivery and sending it to our client in the distributor. 11. 11 Final Delivery: So now it's time for final delivery. Are masters done? And we're ready to send to the distributor in our client. So let's go over how to do that properly. So here it is. You can check it make. Remember, So such a What we did is we just recorded all this down here and you can see that the big level jump now. So we'll do our final fades. Just make sure that starts and ends. Don't Sara. Funny ending. He left a message so we'll just do a little fade there just to make sure dies out and in the beginning is fine, so we'll leave that as this. So after that, since we did a fade, we're gonna want to consolidate this whole thing. Consolidate clip and it's ready. And then now we label it Cam Meekins next time mastered. So now it's labeled Ready to go. We know it's the master file, so no one gets confused by that, and now we're gonna export it. Now the way I do things is because I record the master internally as we can just go shift Apple K or whatever program using it doesn't matter. You can usually export with everything, and we're gonna export it as a wave now, depending on the delivery, there's a couple of their for ways we can do it if we're delivering to tune core or one of the online distributor's, we could deliver them a 24 bit wave file, which was great because that means we won't have any loss. We started the session with a 24 bit way of foul, and we'll end it with a 24 bit wave file. So that's great. If we're going to a CD pressing plant, we're gonna need to switch it to a 16 bit way file. And that's for CD manufactures. Now, with pro tools, there's usually a did Irish. Usually you have to dither down, but in pro tools it dithers on exports, so we don't have to worry about the dither issue there. And finally, you can just make MP three bounce. If you're just putting it up on your soundcloud or standing it directly that the client and don't need to worry about any sort of distribution, you could send him an MP three, and you can send him away. So those are the three different ways to send the file out whether he's sending to with a client or the distributors. So we're ready to go. I think we're just going to send this one to the client. So we're gonna send an MP three, throw it on my desktop, we're gonna export it, and now we can go to lunch. 12. 12 Final Thoughts: So our song is mastered and we've sent it off to the client. I hope you got something from this class. And if you have any questions or comments, please live in the comments section. Face a lot.