How to Mix Vocals From Your Bedroom In Any DAW: Mixing Smooth Vocals Like PARTYNEXTDOOR | Kia Orion | Skillshare

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How to Mix Vocals From Your Bedroom In Any DAW: Mixing Smooth Vocals Like PARTYNEXTDOOR

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

7 Lessons (38m)
    • 1. Course Intro

    • 2. Song Overview

    • 3. EQ

    • 4. Compression

    • 5. EFX

    • 6. Taming Harsh Frequencies

    • 7. Doubles & Adlibs

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About This Class

Want to learn how to mix your own vocals? 

Are you into that modern R&B PARTYNEXTDOOR style?

You’re in the right place. 

If you’ve ever wondered how artists make their music sound so good? It’s all in the mix. Even when big musicians are touring on the road and recording in hotel rooms they sound incredible 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 my own system and this quick and dirty guide to mixing R&B and hip-hop vocals in Ableton. 

So, what’s next?

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, producers, and engineers who are starting out and want to get professional sounding records from their bedroom.

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

You’ll have a better understanding of how to mix your own vocals and the steps you need to take in order to achieve the sound you want. 

I want to be clear. This isn’t about shortcuts. This isn’t about secrets. This is about learning the fundamentals, 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. 

I also want to make the statement that there is no right way or wrong way to this. This is simply my way. If you want to hone your sound take your future into your own hands and craft what sounds good to YOU.


What If I Only Have Stock Plug-ins?

Great question, you.

All the strategies and techniques I teach can be done in your native DAW with all stock plug-ins. 

I’m using 3rd party plug-ins from Waves but all the ideas and concepts are universal, your native plug-ins will work just fine. 

That said, if you only have Stock plug-ins and want to take courses specifically on those DAWs you can take my other courses here:

Mixing vocals in Logic Pro X


Mixing Vocals In Ableton Live With Only Stock Plug-ins


Do you have any free resources for beginners?

Absolutely. You can download my mixing cheat sheet here.


Where can I download your templates?

All my products can be accessed on my website.

Meet Your Teacher

Teacher Profile Image

Kia Orion

Artist & Music Producer


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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1. Course Intro: Good job. It's your boy key, Orion, the man who is obsessed with making note music and teaching you how to make your own. And in today's video, I'm going to teach you how to make a vocals like this, whether that sounds doped to stick around in it. We're going to show you exactly how to do it. All the knobs and switches that you have to tweak in order to make it happen. But if you want to get the template, you can check it out in the description below. I'll have that posted up so that way you can just buy it. You don't want to worry about it in his throat and make your vocal sound out without further ado. Let's jump into the computer and I'll show you exactly what it takes to make this sound. See you there. 2. Song Overview: A, once it went to what is going on now, it is your boy key, Orion, the man who is obsessed with making music in teaching you how to make your own. In, in this tutorial, I'm going to teach you how I went about recreating some party next door type vocals. So this is the track that I use, transpiration, loyal by P and D. I need my friends. So I took that and I pretty much remade the beat with my own spin. Obviously, I changed a bunch of things, but I kinda took some of those same drums, same ideas, same vibes. And this is what I came up with. I want to note down. So that's I'm gonna teach you how to do is how to recreate this type of a vibe. All different things going into exploring the creative process. So if you're ready to rock and roll, put aside some time, get your beverage of choice and let's jump into it. 3. EQ: Boom, boom, boom. Okay, So as always, these templates that I make for you guys, you can find in the description below if you want to check it out. So it's pretty much already pre-made for you ready to rock and roll. But if you want to save yourself the time in the hassle, you can do it or you can just follow along and I'll show you how I did it. So as always to all the, all the plugins and I'll be using for this tutorial there, waves there from the waves gold bundle. But a lot of these, all of them except for this SSL e-tailer in the waves go bundle. But I want you to know that even if you don't have the template or you'll have waves, you can actually do this in your stock with your stock plug-ins. You just got to kind of make a couple of tweaks depending on what data you have. But this template will work in any of your Dawes because it's third party plugins. So I'm going to turn off our doubles in our adipose for now so we can just focus on our main vocals. And I'm gonna walk you through it. Also. This goes without saying, but because your boy ain't a singer like that, Auto-Tune for show. And I got the Auto-Tune settings cranked on some party next door. All the way. Written speed to 0. This is the key and my song and some soft effects. So let's jump into, this is what it sounds like without the template. Onto, whoops, helps. If I'm in the right one. It sounds like without it wants to human and know who made osha. And this is with it onto human and nerve. So let's go through these one by one and go through the different creative choices. So if you've seen any of my tutorials before, you know what I'm about when it comes to mixing vocals. It's really about your subtractive EQ and how important that is to clean things up. It's, you don't need all the fancy plug-ins dub. It really comes down to good subtractive EQ and some knowing how to use compression. And then we can get into the fancy stuff later, but really focused on your EQ. So that's, I did here, put an acute 10, which means it has ten bands. And I also think it's important if you want to train your ear to not have one of the visual EQs. First, like not have an EQ REQ 6 or like a pro Q2 or whatever like that. I mean, you can use it if you want, but I find helpful just to work on my ear. If I don't if I'm not seeing what is going on. So pretty much the way that then I'll go through this is these are resonant frequencies that are found in my voice. And pretty much, Let's go like this. Let's load up a cute 10 down here, and I'll show you what I did. So this is kind of, this is the process. We're going to turn off the template. So this is a new Q 10 for me. You want to scan for resonant frequencies. So pretty much you play your track and then you go through onto human and no internal queue pretty you don't have to go super, super tight with it, but you're gonna go through and just like scan what sounds whack want to know who made who shot enough to know to my note, I got downs for like right in there. So I'm not going to have no thing that we've been though. You can feel it sounds almost like it's like a whistling kind of sound. The higher up you go in the frequency spectrum. So sound like whistling. So. That's what I did here. A bunch of little small cuts. Again, mixing is a bunch of small decisions, small subtle changes added up over time. I added this to you because your voice is going to be at a different place than mine. Is this low cut knob. So hey, come back here. It's, it's kinda low cut knobs. You can kind of roll off however much or how little because your voice is going to be. I have a high voice because I haven't hit puberty yet, but hopefully soon I will. And this, you can crank up or lower depending on where your voices at. So that's what the CQ ways you're going to need to tweak this for your own voice, whatever's going on in there. But that makes it easy to kinda low cut depending on as you go through the song, maybe you want to bring in more Lowes, whatever. So that's a low cut. Now, the next thing we're going to jump into is the first piece of this SSL channel. So this is the one plug-in that I recommend from waves that is not going to be in your waves gold bundle. And this is a re-creation of the old kind of analog SSL channel. And it has an EQ on this side, and then a compressor over here and a gate over here. I'm just gonna tackle the EQ first and we're gonna jump in and compression here in a second. Before I get too technical with all these terms, know that this, these are pretty much doing the exact same thing that these are doing, but it's just visualize a little bit differently. So it starts with the low and works new way to the highest go figure. So this down here, I'm, I'm cut and maybe 60 b's. I'm cutting like a decent amount down here. This is kinda like 300 range to 75 to 90, somewhere in there. So this is the range. What I'll do is I'll show you by throwing the db all the way up so you can hear what the actual sound is that I'm cutting out because again, these are small subtle changes where they shouldn't headphones, monitors, you might say key, it was our big difference. There was you just made a mistake. You're watching on your phone. Excuse me. So this is the frequency I'm cutting out here. Want to human and helps if you turn it on human here that again, if I'm like, That is no Bueno. So I've got again around in here. I just kinda doubt it down and I said, okay, that's going to Amman enough me to shut. And here this is your cue, how thin of a band or not you want. And this is about again, probably on that same negative four and this is in this frequency, watch ears or to human and not about that, Not about that cut that joint out. Cut to join out. We don't need to onto human enough for me to shop. And again, same around, kind of a similar q naught, super narrow, but not super wide as well, kind of in here. And this one is this one super whack onto Yeah, I won't play it on for a super long, but around that three k kind of 3.5 to 4.5 range. Especially I have a lot of S's in the song him and seeing him yet. But The, it's going to get really SE, so I especially wanted to kinda take some trends out there. I'm boosting the slightest bit and its kinda top range. This part isn't super important. But around like 12 k, between 8 to 8 K to 1214 K. And there you can get a little bit of presence. So I did that, rolled off the lows runoff the slightest bit of highs. And that is the EQ in a nutshell, with the first q ten and the second EQ from this SSL. And then we're going to jump into the next stage when I talk about mixing, which is compressing in DSA. So let's jump into that now. 4. Compression: All right, moving right along, we've got the compression part of the SSL channel. So this is where the way this channel works is this. You could use your H compressor or your regular compressor or whatever it is. What matters is this part over here that you're going to see? Is these lights kinda tell you how much like the gain reduction is kind of going on in terms of the, how much it's really compressing it. So this would be like, you'll see as I tweak this, this, this yellow light will start to trigger. And so what you're looking for on your compressor, as you turn your threshold up or down hover your compressor looks as your compressible have probably like a little like a little switch, like a little thing that'll show you like how much compression is happening. And that's telling me is how much compression I'm getting. And so I shoot for analytic three, negative three or three to six somewhere in there. So that's what I'm shooting for is this little yellow light to light up onto human and me. But if it's, if we crank this, so this threshold which I put over here is presence, which you'll see the more we turn this up, the more the vocal becomes clinical present. But also you can feel it kinda starting to smush it. So check it out. Launch you human enough for me to know so many item learn and as you can see, how much bolder that light is compared to now if we bring it back down onto human enough for me to know so many item learn. And to my note, I got downs for launch Xu, I'm not good enough. I haven't dang that we ban. So you can kind of control that with this knob if you want. Just kinda makes it easy as you go through, you might want to bring this in or back depending on how you're feeling. Um, but I found that around that was me too shy. Too many items. And I have a pretty kind of medium attack and release. This is a fast attack knob. I don't feel like I really want some a fast attack on this relatively medium release. And that's super fast, not super slow. And about a four to one ratio, which is a decent amount of compression. And this is pretty much, this button tells you channel out whether you want the EQ to happen before the compressor or the compressor happened before the EQ. And I felt that I just felt I liked it better with this. So that's what the SSL each animal again, if you don't have it, don't worry about it. All this is doing is bringing up another kind of compressor that you have and make sure that you aren't slamming it. But the target in, you know, a little bit a decent compression. They are kind of catching peaks and sort of compress the vocal little bit. However, since we are start to compress the vocal, those Ss are really jumping out at me, starting to bother me. I'm also hearing other frequencies now that I want to EQ more, but we'll jump into that in a second. So this ds or come on buddy is your standard waves DLSR. And i've, I've put some here too, this knob because this will change depending on how much or how little you want your essence to come through. And this is where you change the frequency. And normally it's like between that, like for me, I find between like that like for arcade I like 55 like four KD, like 5.5 K. Somewhere in there is where my S is, 10 billion S's and T's. So I'll dial this in now. Another one of key is here. I'll show you here in a second. I'm, I'm ignoring when my own piece of wisdom right now. So I'm mixing in a silo, but we'll talk about that in a second. I wanted to show you guys this. So this is pretty much telling you how much this little, this DSR is. This is just another compressor straight up. It's just a very specific kind of honed in compressor on this type of frequency. To human enough I may do we shot enough. So many item learn and to my note, I got downs for launch Xu, I'm not good enough. So let's bring it back. Bring it back one time, and let's do it with the beat wanted to on the hook of the song, It's really SE, so this is probably a better place to test this app. You want to test? No, that's not it. What do you mean? Again, you don't want it to sound like you have a lisp, even though parties vocals and Drake's, they, they ds pretty hard. So since we're following that kind of a vibe in this one, I'm dressing these pretty, pretty tight. I'm keeping this as a pretty tight. But that's kinda the first intro to the DES, to the compression and the dressing, at least for the first part, we're going to continue on and then continue to kind of rein those Ss in as we go. So moving on to the next part, Let's get it. 5. EFX: Okay, so the next piece is this q ten. And this is going to be another EQ. And again, I'm pulling out crazy. I like to EQ again, this is just kinda my style, my method octave EQ again, after I do the compression piece, but you really, before you add effects and stuff, you should be feeling good about your vocal. And again, a lot of this you can do while the beat is playing. I like to do my first EQ without the B and the first compressor, probably without the beat to, maybe sometimes with the beat just to kind of figure it out. But then as we start to continue on now it's really important that we start to listen to the vocals with the beat, because we can get a perfect vocal. It doesn't fit with the beat itself. We're kinda missing the mark. So with this EQ, again, as all subtractive, I'm not boost anything. I'm just taking out a bunch of these are just all wacky frequencies because I record in my bedroom. And it has like all the worst things for recording. So it's just a ton of bad frequencies. But I assume a lot of you probably aren't recording and like perfect studios. So get your nice with your EQ, subtractive EQ. Really it is engineering just about fixing problems, but moving right along from this EQ, I didn't attach this to anything over here. This is when we start to get into some fun stuff. So when I was looking online, I found a thread of a guy who actually worked on parties vocal before. And he said there were a couple of things that he did. He said the first thing that he did was he talked about the way that he's able to kind of expand the vibe of the vocals by like some detuning, which I'm going to talk to you about here in a second. He also talked about a little bit of like warm distortion and some simple EQ tips. So we're going to jump into now is really how we're going to start to craft that kinda party next door sound. Right now we have a good sounding vocal with a lot of the crap taken out. Now we're going to start kind of teasing it out. So with party stuff as well, I'm going to turn these off for now so we can do one at a time. He doesn't have a ton of delay like this, really noticeable, like a long fourth note delay. But he definitely has an eighth note delay which adds to kind of like his, his reverb sound. The reverb and delay kinda work together in tandem. So that's what I've added here, is your eighth note delay. This is an h delay. You can, if you want to copy these settings, you can feed back to 0 drive-by all the way up because we're running this as a parallel chain, meaning these aren't fully dry signal, so we can kind of bring them in with lo-fi and then a little bit of this low-pass engage. So this is the eighth delay. Again, another thing that I recommend is when you're adding effects to your vocals, it's easier to have them go pretty full, full bore with it and then dial it back, then try to like slowly bring it in and be like cannot hear it yet. Can I hear it yet? I always go over the top, just go super crazy and then dial it back in. So this is what the eighth delay. So let's hear it with that, that, Let's get it. Let's get it. Somebody, you, this feels like it's not working. Why is that? Let me pause this for a second. I think this is working. Wow, it's so much easier if it's actually on. I was like, why does this not work? If you turn your plugins on, they work a lot better. Let's pretend that didn't happen. I'm not even gonna edit that out, but we're going to pretend I graduated high school. So this is the eighth delay on bone. I also set these macro knobs that because as you start to add more effects, you're going to want to come back in and probably tweak these because they might become more apparent or less as you go. So this just makes it super easy with these macros. So that's a little bit eighth delay we got going on. And then next I have the fourth note delay. Very similar setup is the last one, but assumes a quarter note rather than an eighth note saying things are I went all the way up. Excuse me. This is your I didn't put this one over here because there's not a lot of this in the party next door vibes. So I wanted it there in case you wanted to put it. This is a very typical delay and a lot of kind of modern pop R&B wrapped vocals. But just dallas went into taste. This one isn't super important for the party next door vibes. Whoa, what we're getting into next is the short verb, this one I have over here with this button. And this is a plate reverb is pretty much just puts the vocals in a space that feel like they're in a room. When I listened to a party stuff, it feels like it's in Drake to like a lot of modern vocals. Even though you won't hear this reverb per se, you'll feel it. It just kinda puts the reverb in a, in a in a space. I can't explain it better than that, but you'll see what I mean. So I go to this is this is a stock reverb that I just tweaked a little bit at the time. But this is just a vocal plate reverb. You can find any type of vocal plate reverb. That's what this one is. This is just your plate reverb and I put in your short verb so it's easier to remember. This is again, where we're going super gonna dial it back. This one is really nuance, so I am going to show us and various you can hear it when I need somebody, you them in and he's somebody hour-long can new for me. I know you want to be somebody, you know, I mean, it's not really like a reverb for real frail, but it's just, it puts it in a room with somebody. So that way you actually know what it is. And now we're going to play with the beat again so we can dial it in because again, it doesn't matter how it sounds by itself onto, you know, how many items to note down onto. I'm not a good thing though. Too many gamelan. Note I wanted to me to be shot no. Coal. This is the, this is the serious reverb. Distance over here is long verb. This one is your hall. This is a bigger reverb with a little bit of pre-delay. It's pretty big verb. Pretty long decay time. When I listen to p and d is vocals, it's a shame because of copyright. I can't play his vocals here to AB them, but listen to loyal and then listen to your track or listen to this one. And you'll see that they have, he has a long reverb tail that it just kinda get too specific. They take up space and it almost like it's a presence, but it's not it's not a super bright reverb tail like his whole, his whole vocals. All of his vehicles aren't really bright. They're very different than a Tory lanes vocals. We're really bright on the high-end. His and I'm going to talk about in a second, almost like fit in this nice kind of mid space. So that's what I did here. And because of that, I also EQ the vocals, excuse me, I EQ the reverb, so you can get a feel for it here. So Tories are probably overlap here. Like that's, that's Tories vocals. A really bright this one lives. I put it right around in here because this is where we want it. We also have a low cut on these, because if we listen to just the reverb itself, we don't want all that low kinda Martinus on here, so check this out. I just wanted to kinda like higher. I wanted a little bit, a little bit higher, but not super bright. And I also want to cut the lows out so it doesn't get muddy. And then the last thing I did was side chain the reverb to the vocals. So this is super slight, but pretty much what this does is when the vocals are triggered, it will duck the reverb out so that it makes it a little bit less muddy. And then when the vocals are not in, it allows the reverb to fully expand. So it's almost like this. It's almost like a gated reverb to your vocals, side chain reverb to your vocals. I'm super fancy terms. This is not super important at all. If you don't know what I'm talking about, don't worry about it. But that's what this is doing. Just a slight shadow down onto I'm not good enough. Though. We're coming along. Next is the doubler. And this is not one that I put over here because this is again a very slight effect. This is simple W2 and waves. But take your direct out if you use it and if you take out this direct line. And this is just to help widen things a little bit. But again, I'm not going overboard with this one. So two, that's full blast on to remind you of a b and almost have it be almost like, almost like you can't even tell it's there but you can feel it onto a shadow down onto your mom and me too. We shot no real subtle but I find it helps just kinda spread of open a little bit. This joint is we're going to really start to hit that party next door, Bob. So remember when I was telling you that I've found I should find it in, bring it up on the next and the next piece of this video. The actual thread that I found really talked about it. But this is where I'm starting to detune the vocals so that it sound as that, that kind of party next door signature sound. I use the meta flanger and used this coarse medium and then added this to the widen up. So this is it. If it's all the way cranked again, this is kind of what it feels like to me. Down onto. I'm not good though. No doubt. So that's cool. I like that a lot. You can doubt any to taste. I just like weird facts on my vocals. And then this one, the last piece is there's this analog distortion. And kind of the, his vocals are slightly distorted, I believe that the guy said and threat he did. He's like a fruity loops. It was like a blood drive blood drive saturate or something. I don't really know, but I found this distortion pedal and the waves plug-ins. Again, this comes with it. And so I'm blasting this distortion pretty hard, but keeping the, the, it's very unlike the actual distortion itself. I'm pushing the limits too, but I'm actually dialing in a slightest bit on the actual dry wet you wouldn't probably be able to tell. It just adds a little bit of that kinda like distortion in a little bit of that light kinda analog, still kinda like analog warmth to it in a way that here you can go crazy if you want another. This could be cool too, is if you want to add, if you wanted to automate this. So there's a point at the end of the song, right? Do you think it'd be cool to automate this? It was here. So I think because, so this could be fun if you wanted to automate this knob, you can get some, you get some really dope effects going. Yeah, so that's kind of the first row of effects. Now going to jump into that last piece of this, these last piece of the effects before we get data here. 6. Taming Harsh Frequencies: Okay, so when it comes to the next piece of this vocal, I wanted to pull this up you guys, so you could you could see where I got this information from. This is a gear slots forum. They got doctor, he said, How do you make these next four vocals? And this guy named Joseph Reeves said Yo actually worked with him back in 2013, 2014. He talking about putting his voicemail EQ on not at a 100 percent, take us on a lower end boost some mids and that he put that on his lead vocal. And he was also the one who talked about kind of tuning the strange thing with the flanger and the distortion as well. But I was like, Okay, so how can we recreate that? And so what we did here is on this next band at a parallel split because I wanted to, I was running out of spots. And I'll again, the reason I've parallel split this is because we don't want this EQ, we don't want this banded EQ, this kind of telephonic EQ to be on full blast. Because again, we're going to lose too much in here, but we want to, we want this to be a parallel splits so we can kind of mix some of this vibe in. So that's what I did here, is let's bring these lists, all these vocals again real quick, is so that this is with this band. It's a Q8 column-based onto human and too many item learn and to know that I got down to 12, I'm not give known everything that we Bento super subtle. And this isn't, this doesn't have any knobs, did it's put to you or this either. This is a parallel compressor that I put on here. If you wanted to add some parallel compression to your vocals, which is why it's super smashed. But this is only if you need it. So I always, I always like to have parallel compression there, but I'm going to do this kind of at the end of my chain, if at all, to see if it really needs it. If I feel like it really needs some more power. So I put this in here for you. But if are going to use it, just use it wisely because this is going to give you a lot of power on your vocals. And this is super smushed compressed vocal. So if you need a little boost, this is here for you but not necessary. The next piece is this S4. I love this pop vocal preset and then I edit it. So I'll choose pop vocal preset because it brings up these kind of highs that I feel like I wanted that make the vocal maybe a little bit more. There's a little bit more presence. But I didn't want it to bring up the lows, not a ton on the mids. So if you don't know much about multi-band compression, pretty much it. If you imagine it's like the opposite of a ds. So ds or is compression, but it's on one super specific band and only one frequency. This is a compressor, but you haven't. You can have multiple bands that you choose how much you want them or not compressed. So each one of these bands, right, has its own little threshold. Knob, has its own gain, reduction or addition range, attack and release. So these settings, I didn't mess it too much, maybe a little bit in the threshold here and there. But this is without. With the C4 enabled, wanted to remind me that we shot too many items to note, I got down onto I'm not good enough though. Many Ganymede down. So I feel like this really brings out some of the clarity and the vocal. Unfortunately, that's not exactly like a party next door vibe because like we said, has it feels kind of very tucked. But I just felt like without it. I wanted a little bit more just a little bit more kinda push on this high-end. However, because we pushed the high end as well with the other parts of the effects and stuff. These S's are really starting to bother me. So the last piece is the siblings plugin. So what this is, is this is kind of like a fancy ds or any type of ds or could do exactly what this is doing. But you choose, if you notice this band. It's going to tell you, again, this is kind of how much or how little like you want to actually include. So if the waveform, I'll show you, you can, you can really close it in on that waveform. And then this is how much the reduction is. And this is like there's going to be pretty much just Ss. This is a little bit more openness and more like S's, T's and other things. So that's why I left it like kinda like around in here. You have to dial this into tastes for whatever works for you. And then wide motor split mode. Again, I just keep it and wide and I used this look ahead. I find this works little better for me. And then this is how much or how little you want it to duck the S's out. Again, we don't want to sound like we have a lisp, so I'll play it. And then kind of doubt as in a taste. Note to note, I got down onto I'm not good enough. We Bento too many gun lock downs for you, them at least somebody in New York, maybe somebody when you need somebody. So that feels about right to me. It's not still it's maybe sounding a little USB, but not super less be like those, those Ss are pretty crushed when I listen back against him, he's not part next door tracks my reference. I can't play it in here. Copyright. But AB a back and forth, and I'll get my S is the sound kinda the same as party? Or if I'm doing this, if I'm recreating Drake template or something, those are the OVO engineers and those OVO vibes, they, they crushed the S is pretty hard, so I always use, use your reference track so that you have an idea of what you want to, what you're shooting for, which you want to accomplish. So that's the main vocal chain. But now we have the doubles, which is a bit of a different vocal chain evoke different robot template. And I'm going to walk you through right now. 7. Doubles & Adlibs: Okay, so the next piece of this is the doubles. So I haven't been playing these doubles or add lives alone with you, but this is the hook with the doubles and the ad libs. You them in a nice body of your novae somebody. So let's take these additives off and I'll show you how I made these doubles. So these are really similar to the one before the wracked with forks up with some slight changes. So the Kuwait, again as it pretty much the same scheme, lot of subtractive EQ. And then here I did this and our compressor. So that's what I did. The macro overhears the glue, which is the attack. This is going to just feel you're going to play these with the beat and the vocals and kind of figure out where this, where this feels right for your own vocals. For me, it was kind of around here, relatively fast attack. Again, the ds are self-explanatory. How much or not you want that dS, this SSL channel, again with your compression, this is kind of a presence. This is a kind of more of a presence with the compression. Maybe that might be a better name for it. So you understand, but that's the, you can think about it. All right, so this one, the brightness suddenly start to be a little different. So I'll put up this EQ six for the doubles because I wanted I found that his, his doubles, they have a lot of kind of like they really have a lot of presence. They stand out, they have a lot of sheen there. They have a lot of effects to them as well. And so you can tell it the other vocal, I only did a little bit of boosting with the SSL, but not much else. Here, I put the macro to your TA, this kind of last brightness piece so you can kind of choose how bright or not or not. You want those to be. Be careful with this because the more you go up, the more it's going to bring those to your S's and T's out, but depends on your voice. And then this is going to get into the fun part. So this S1 imager is, I assign this macro down here to wideness depending on how much or not, how wide or not this simple S1 image are pretty much. It just pushes the vocals farther out to the side so they don't compete as much at the main vocal. So that's kind of what this looks like. So you kinda can choose this to taste. You can choose how wide or not you want them to be. It's up to you. You can play with that depending on what you want. Dao that in, again, your delay. This is a simple fourth note delay. As I just copy the exact same one from the other rack. Macaroni that this knob, the dry and wetness. Dry, wet knob, reverb. This is again the plate Reverb I kept very similar. This is a this is the long verb, and as you can tell, I have this cranked up pretty high. I wanted these doubles to feel. I wanted these devils. The really feels spacey. And when I listen to parties vocals, his doubles take up a lot of space as well. They're very present. So I put the put the reverb there with the macro for the dry wet knob. So you can kind of tune that in how much you want or not. Same doublers before for a little bit of that choir effect. And then this is when we have fun with the double. So as you can tell, this is cranked. This is the Meta flanger from before as well. Impacts for, for distance to preset I found I liked. And then this mondo MOD, which fluttering, that joint fluttering, which is just a cool, kinda crazy flanger chorus effect that like detuned vibes that I heard on here. So this is just this piece sounds like. So it depends on how much of that do you them at East. But again, these are effects you're going to want to dial in via gotcha. Their vocal is going to be some new them, at least somebody. How long do you want to be somebody? To be somebody on them and you need somebody, you know, on heavy onto me. Do we shut down onto I'm not a good thing that we bend down. You them at least somebody in New York, maybe somebody. So have fun with that. This is also included in the main template as well. Include this doubles template. So that is how I found to get those partners to our vocals, this song, my cover, a quick self blog. You can find this on to be able to find this on YouTube. So a spot up however, because it's your boys remixed. So everything is originally even if the concept and idea is the same. Appreciate you tuning in. Let's go check this out. Hope you dig. Thank you for tuning in. As always, if you want me to cover, create another template for something that you're interested in, let me know and I'll cook it up for you. Appreciate you. Yeah, chicken, the next one. Everything you want can be in the description below. Piece.