How to Mix Vocals From Your Bedroom: Mixing R&B Rap Vocals Like Tory Lanez | Kia Orion | Skillshare

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How to Mix Vocals From Your Bedroom: Mixing R&B Rap Vocals Like Tory Lanez

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

6 Lessons (39m)
    • 1. Course Intro & Project Setup

      4:00
    • 2. EQ

      6:01
    • 3. Compression

      5:13
    • 4. EQ 2

      4:41
    • 5. EFX

      13:44
    • 6. Final Touches

      5:46
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About This Class

Want to learn how to mix your own vocals? 

Are you into that modern R&B Tory Lanez/Bryson Tiller 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

or

Mixing Vocals In Ableton Live With Only Stock Plug-ins

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If want to learn more about vocal mixing and music production you can check out my other courses here.

P.S. If you want learn how to easily make better vocal mixes you can download my free mixing cheat sheet from my website here. 

 

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. Course Intro & Project Setup: Al, What is going on? I'm super stoked to come teach you how to mix a vocalist like Tory lanes. So this is a tutorial that I'm putting together because it's one of the, it's a part of a series that I have where people reach out. They want to learn how to mix vocals like certain people. And so what I do is I create these vocal templates for people. So at that way, Come buy them in, make their vocal sound like Tory, but I've gotta make them first. And so I'm going to walk you through kind of how I made this template. This template is available. If you do want to buy it, I'll link it up in the description below, but I'm pretty good. I'm pretty much going to walk you through step-by-step, all of the different actions that I took to do this, to achieve this sound. And another thing that I want to mention is that the way that I'll be doing this is through studio rack, which is a free plugin. But then all of the plug-ins included in this preset that I'll be using that I created. They're often the waves gold bundle. So it's like they're very beginner kit. These are not super crazy, expensive plugins. This is nothing fancy. These aren't going to be stock plug-ins, but he's not going to be super fancy plug-ins either. And so I want to start this off by telling you a little bit about the project. And then we're going to jump into the vocal mixing. I'm going to break it down piece by piece. So the first thing is, this is the track that I, and attempting to recreate the vibe of the vocals for is from this track. So I think that's a pretty cool track. And so what I did was at first I remade the beat and swimming to walk you through that first just you can kind of understand how I break down vocals, how we go about mixing vocals that whole nine. So this is the beat that I made. It, it was when I listened to that. What I hear is the disruptiveness in terms of the beet production alone. Whoops, that's me. I'm Tory, where you add, okay, this is him. It's very SPAC. There's like a vocal vocal chop. There's like a bumpy kick in 800 eight and then just kind of like some very viable since, so this is the beat that I made instead. So I pretty much took a lot of the same drums and used that for inspiration for a starting point for this beat that I made for it. Towards you keep staying in here. So as you can tell, the protection is very similar. Gloomy 800, eight. This is the wavy sink is this story. So that's kind of the starting point x, y, that kinda set the stage that whenever I'm doing any sort of vocal mixing or production or anything to have a starting point, something that you want to shoot for workers. Tory has different looks, different vibes throughout all of his songs. And so this is the kinda went that I'm shooting for. What I hear is like a brightness on top of his vocals. They're super bright there, really spacey. There's kind of a delay, but it's, it's like the high-end is kind of cutoff if you listen to it. So that's, I'm gonna teach you how to do. In this next video, we're going to start jumping into this template and break it down for you piece by piece. 2. EQ: All right, So just that you kind of have an idea of what mind sounds like. This is the song that I created. It's not a cover. I say it's a re-imagined. I pretty much take the same inspiration or the idea of the track and the same vibe, maybe some of the drums in the production, but then I just make my own spin on it. So this is key is version. Maybe tell me what you think. So that's the swear words are also blanked out because I want to put this on course platforms, but when I actually put the song up, it'll be all in there, but you're welcome. Course platforms. I'm making this PC for you. So let's break it down. So when I, when I start my vocals, and one of the really cool things about this wave studio rack, which is why I make my templates in studio rack, is because you can chain a bunch of things together. So if this looks intimidating, Don't worry about it, I'll break it down for you. You can also do all of these things out without these plugins or without studio rack. Wanna make that clear. But when it comes to Tories vocals, we're going to be doing a lot of a, a being, pretty much going back to his back to ours. And he listened. He's got my man's got a lot of Auto-Tune, a lot of reverb eyes got a lot going on. So that's always what I start with, is this Auto-Tune. So if we solo my vocals, this is my Auto-Tune setting. For this, I use AUTO-TUNE effects. Returns bit about sex, which is pretty high in I like the input type of a low male, even though I have a pretty high voice when I saying, but still I find this works best. And then the style right now, hard effects can work. And this is more like Travis Scott for this one has felt like soft effects kinda worked for me. So we're in the key of G minor, and this is what it sounds like. This is you can kinda tell what the Auto-Tune got me in food or you put it down, woops coming in. But also how crazy? I bet that's the difference. This is the dry vocal. Got me in fields where you put it down on me. So real r coordinate my in my little bedroom studio, so pretty bad. And then this is with the plug-in, gummy in field or you put it down. Oh, you feed a baby. Tell me what do you got me, why you feel a big difference? The first thing we wanna do is start with your Auto-Tune Irish to make sure that that matches the key, the sample, whatever it is. And then the second thing that we're gonna do is this is when we're starting to get the real sauce going. So I like to keep things simple. If you've taken any of my courses, you know that that is kind of my entire bread and butter as to keep things simple. And so what I've learned from a lot of watching tutorials, things of that nature is I like to enroll. We'll do these maybe one at a time. I'd like to start with an EQ. I like to imagine things pretty simple as maybe an EQ, a compressor, a ds are, and then maybe another EQ or compressor and maybe some dressing at the end of the chain, but I don't do anything super crazy. So in this kind of studio rack beast that I've made, this is kinda what it looks like. So when it comes to these vocals, subtractive EQ really is the key, meaning before you want to start boosting stuff, you want to take stuff out. So listen to the a and B of this. Yeah, let's say I'll take on my doubles. And will so the vocal, just finance, you can hear it's going on. Got me in food, or you put it down. So rule so if you can hear that it's really boxy. Obviously there's a logo and a low way and I've got some bad I've terrible like all of the things that you did or that you don't want in your room. I have in my room that's like tiled floors, lots of windows. But we make it work right? So this is the difference between that and having this EQ, in which case I went through an EQ, all these little notches out coming in or you put it down. So rule, how you feed a night, maybe tell me what's the deal. So it's pretty much all we're doing right now is making sure that it's we're just making sure that it's cleaned up a little bit. This is just the clean-up stage. Right now at the beginning were taken out stuff that we don't like coming in. Well, you put it down. So rule, how you feed a night, maybe tell me what to do and there are still some frequencies in there I don't love, but I knew that I didn't want to try to tackle it all in the very first EQ. So that's the first dequeue. The way that you find these is you kind of go through the way that I do is I'll sweep through frequencies pretty much like I'll, I'll load up something. So let's say we take this six. And so I'll just kinda go through like this and sweep for different frequencies when you get really good. And I'm not saying that I'm there yet because obviously I still have to sweep for them. You'll be able to hear them. I'm getting there, I'm training my ears to get to that point. Or I can just kind of hear what I don't want and this vocal, but that's kinda what it is. And then the low end, I roll off because my voice again, I have a high voice. I roll off up to a probably around a 100. But for this preset that I built, if you're using this yourself, pretty much that low cut, your comeback Kuwait, where do you go? You'll notice pretty much this low end. But in that I made just just changes where where your role office but mine is probably around like maybe a 100 somewhere in there. So that's the first part. We just got the EQ down. And then we're going to be moving on to the next part, which is kind of this general compression stage. 3. Compression: All right. So we didn't again, we didn't get everything perfect on the first EQ, but I knew I'd come back to it later. And I've just got some more accused going on in here. The next compressor like to have is, this is not one that's gonna be doing a ton of compression. So this is one that if we play it back, coming in or you put it down. So r2, how you feed a night, maybe tell me what's the deal if you can tell as well. What I might do is also make this maybe a little bit, sorry, Let me, it's a little bit smaller for now, just so I can fit both of these in the same window. Is level matching. This is a really important part when it comes to EQ is making sure that we often think that the EQ, excuse me, compression, we think that the compressor, the compressor sounds, makes the vocal sound better because it normally makes it sound louder. So what you wanna do is you actually want to bring this in, an AB it like this turn off and on at the exact so that the volume is the same. You're simply, you're simply just the hearing the compression rather than compression and a louder signal coming in or you put it down. So rule, how you feed a night, maybe tell me what's the deal. And so again, what we're doing, this compressor, we are super hard. And the way that this works through this chain is then it'll be I have the wet. So it's pretty much I have this compressor all the way to the the dry wet knob is all the way. And now what I'm dialing in are things like the attack, the release, and the ratio. So this is simple, This isn't super crazy. About four to one ratio. Kind of a mild attack and a pretty quick release. What I want to do here is I'm just trying to catch the peaks. So I'm just coming in and I think we're going to be 36. Got me in. Or you put it down on me. Yeah. Maybe maybe tell me what's the deal. This is just kind of just get net general. I'm not doing all my compression in one thing, I'm just kinda bring into highs down a little bit. Bringing those up, just kind of taming the, the, the waveform just the slightest bit, um, and bringing the threshold around here, this is something that you can move around and got me and I will see what it does, not compressing any there and got me in field. That's way too much. So got me in field. Well, you put it down on how you feed a night, maybe tell me what's the deal. You got me why you think you got you in the field. And so again, I'm not the greatest singer, but this beautiful parties you don't have to be. Okay, so then the next part that we're jumping into is this ds or I find that there are certain frequencies around like the three, kay? Then after that, there's like go jump into like five K. So DSA, if you don't know what DSE has pretty much those, those frequencies that just that our sound sharp when you say S is obviously like S's, T's. Those things that can kinda get really abrasive once we start to boost frequencies. So before we start doing more boosting, every time I like to boost, I kinda like detain a little bit, boost, boost and tame. It's not a linear process. It's kind of concentric circles. You're kind of doing something coming back, doing something more coming back. And so in that for a second, now for this preset is the compressor, which I was just talking about. And that's linked up here depending on how much compression you want, directly related there. So I'm bringing about a four. And then this next macro we have is this the answer? So this is the answer. Let me see if I can bring that window up again. There it is. Coming in or you put it down and we saw how you feed a night, maybe tell me what's the deal. So if you notice, I'm not trying to catch everything. I don't want it to sound unnatural, but I want the t's. I want the S is all that sort of stuff. If you bring it back down to this pain point around like three K. Got me in field. Well, you put it down and we saw how you feed a night maybe tell me what's the deal. You can kinda tell it's just catching a little bit. And that's what this and your vocal recording might be louder or softer depending. So that's why I made the macro to this knob, is that you can kind of catch your own ds depending on where you, how much compression you want on them. This, this book, I didn't record super quietly, so it's probably around the mean field. Well, you put it down on me. So rule, how you feed a night maybe tell me what do you got me why you so something like that. All right, and then on to the next compressor. This is the compressor that I named glue. Because this second compressor that I use is one that I like to have that kind of melds the vocals back into the beat. So this is when I'm going to bring the beat back and teach you guys how to kind of meld this part. This next part is how do you get the actual vocals to mesh well with the beat itself because you can mix these vocals so low and they can sound great. But then with the beat, It's not going to work as well. So I only like to do that kind of initial EQ, maybe a very initial compression without the beat. And then as soon as I can bring the B back in. So that's we're going to jump into now. 4. EQ 2: All right, so let's jump back in here with the beat me and maybe tell me that you've got on your thing. So there's something about it that just kinda brings it. And I probably have way too much reverb going on on this. I'm like yo me to bring that down, at least the delay down that echoed for a hot minute. But either way, that's neither here nor there. So when it comes to the glue, this is something that takes a little bit of timing in terms of like it just takes patients and you will train your ear to figure out what works for you. Some people like this more compression on this day, some people like less. But that's what I'm Mack owed it to. This blue section is kind of the attack. So as you can tell it kinda play it for you, see what I mean. That's on a feel about right for me. This felt a little too soft. This is maybe a little too President. And again, this is going to be something that I'm probably going to come back to as you keep adding effects. I'll come back to this glue. So that's why I made it this macro here, super easy for you to kinda get a feel for it. So as you go through and continue to add things, you can come back to this, but around there for where we're at, at this point feels good to me. And then another EQ because now we've added three different types of compression dressing is compression. And so I think it's important to come back and EQ again because now we've started boost some things and that means we've also boosted some stuff that I don't love. And if we listen to Tories, vocalists come back to Tori, can hear It's a really bright listen how bright this is. To me, towards vocals are sometimes almost a little too bright. Listen, he's the millionaire, but his, his S's and everything is just super bright. Sometimes I find it just like it's sometimes a bit much for me but to each their own. And so what this EQ is doing, I've labeled it in here is clarity. Because what you wanna do with this part of the EQ or whatever, if you're building your own template out is, again, I'm cutting the second EQ. I can go a little crazy. I'm not again, I'm not cutting huge swaths down. But this is when I'm coming in again, I'm scanning for frequencies and finding what I liked, what I don't like. And then just doing these small cuts. And then I'm also doing like a top-shelf boosts here. So I've labeled this clarity for this notch because this is where we're going to start to kinda get that high-end. And the voice that Tories his is like he boost a lot in a high. So check this out. So like that, Like button this top shelf around what is the round 8 K eight to 12. Okay. You can kinda top shelf boost that. Your voice is going to be obviously very different than mine. So I made this macro so you can kind of adjust it depending on how much clarity or not you want in your own voice, okay? And then again, another ds or because once you boost these highs, again up in this kind of four k, five k range. You're going to see we want to ds that again. So this is again, just kind of catching some of those Ss. Not everything is going to be at a higher frequency. Now that we've boosted the highs, we're also going to want to boost. We're going to want it probably between like probably closer to like through the five to seven K, seven to 10 K, somewhere in there, they're really going to start to jump out at you. This one I didn't put in the macros because I wanted to save some of these macros for effects. So this one, you're going to do your own DSA and come in if you end up getting the template, just coming around and kind of figuring out what works best for your voice. So that's kinda the dry vocal chain. And now we can jump into the fun part. So let's jump into the effects. 5. EFX: All right, Now this is when we really get to start to make it. This is when Tories vocals come alive, man, listen to this, listen to how crazy this space is on his stuff. Crazy. How long it just echoes and echoes and echoes, echo, echo. So this is in studio rack. You can do a parallel split in a multi-band split. But parallel split means is this main, this main channel is r dr vocal. So we aren't going to touch it. Everything else pretty much goes through here. And through this dry vocal, this is confusing, but pretty much what you're doing is you're creating a copy, a direct copy, and then you're affecting this one. And so you still have your, this is your dry signal and then you're going to whatever you're affecting, you're just mixing that back in. So like instead of having them both be full blast, you're just kind of mixing and affecting this one. And then you're going to kind of bring it in, blended in so that it's like they're still together without all of the effects that you add affecting your one main dry signal, there's probably a terrible explanation. I'll have more videos on how to do that before. But if you ever done anything like parallel compression, you know what this idea is. So what these parallel splits are is this is a chain of effects. These aren't affected linearly, meaning two, meaning that eight isn't affecting 7 is infecting five isn't affecting six and affecting five. Meaning that these aren't affecting themselves in this sort of like a linear way. This way, the way that the vocals are affecting themselves is it this way. So it's kind of a top to bottom, less than a left to right. Some vocal chains are laid out differently. If you know what I'm talking about. So we're going to turn this on and bring them in one at a time. So also, when I listened to towards vocals, they sound not super wide. But there's a little bit of, there's a little bit of depth. So with that, I used this dabbler, also called this course effect right here. And so if we listen to it, tell me when I make this really obvious. So pretty much what I did as well. This course effect is actually directly related to this dry wet nap. So if you turn it all the way up or turn down, I'll show you what it feels like when it's all the way so you see what the effect is. So again, this is when you want almost be more belt and less hurt. You don't want I mean, you can't there's no rules to this. You can go as crazy you want with the chorus effect. I do like some course effect, but I know I'm going to be bringing in some other kind, of course, the effects later. So I don't want this to go super crazy. It's just enough that you just widened your focus a little bit. And you can just add to taste here. In for that. Again, all of these plugins that I'm using, this is just the simple waves. Yes, sir. Excuse me, simple waves chorus plugin. And again, because we're parallel processing, you want to take off this direct, and I'll take off this direct one if you use it. This is straight up the the normal settings. I just loaded it up. I'm not again, I'm not getting fancy with it. Keep it simple. Next, when it comes to Tories, if you hear it, if you listened to it, that has some delay. But it's not super apparent. Like you, you, you, you, but it's not, it's not really, I'm learning Spanish. I want to say what they it's not really like strong and in your face. And so what I'm doing here is I have two different delays setup. This first one is an eighth note delay and h delay through waves. These are my settings. Dry wet again because we're parallel processing. I'm dry wet is all the way here. And then the drive it that we are going to affect is here. So we're not shy about, again, the parallel processing. This think of this knob is how much of that second signal you, we were going to bring in the domain signal. So a lot of these plugins will be all the way on the full effect in the, within the plugin. And then we blended in with our little wet knob fader here. And so what we're going to be doing here is with this delay, is if you listened to it, this seller pretty much tells you what it's doing. But so what this is doing, I have it. It's just a very, it's almost like a slap delay. Good. You can tell it almost acts almost like a little bit of reverb, the eighth delay, the slap delay. It's not, but almost almost like a kind of a reverb in that regard. This one, I didn't because I didn't have enough rack macros. I didn't I didn't assign this into a macro. So this is where you're going to have to dial in to taste this one. Again, this is another one, but this one instead is our fourth delay. And this one is, well, if we take off this one and I want you guys to be able to hear this. So I'm going to actually solo these vocals. Is, this one is how I really think Tories kind of getting that cool sound of his delay is within a fourth. Again, dry, wet all the way to feed back. Pretty much non-existent here. But it's through this lowpass, low-pass, high-pass. So pretty much if we listened to this coming in. So this is pretty much starting to take up some of that like mid-range space. Because I know with the reverb, if I listen to stories. I know it's going to be really, a reverb is going to be bright. We have a very bright reverb, but I still wanted something to kind of take up. Some of them were like that midrange frequency. And in this as well, this, again, going down or my favorite things to do is you can tell is affecting the effects. That's something that can be cool. If I were more creative, I probably would be putting something here too. But work with what we got. This is just what I found creating this kind of Tory lanes vocal here is this. So i'm, I'm adding is a reverb to this delay. So this reverb isn't affecting anything else but this delay, this is the delay without it. So it's just kind of opening that up a little bit. Coming. Again, super, super simple. But I find really makes a difference as we bring in the rest of these things. So let's take that off solo. Coming in fields where you put it down or you feed a night, maybe tell me what do you got me why you and again, these effects doesn't matter if it's in solo because it's how it affects gels. And that actually feels when you're in the beat. Me in this way, putting money, freedom, baby, tell me what did I find it easier to usually bring it in too much and then dial it back rather than trying to like, slowly blended into you hear it. I like to kind of go overboard like whoa, that's too much in the kind of dialogue backend until when it feels right. Way when we sold 20 freedom by somebody who was mine, you think? Well, does that mean on the exam you want to again, subtle, small kind of subtle changes. Now we're jumping into the fun part. So this is like the key to the Tory lanes sound is his reverb. And so this is the one that I, I've got a bunch of effects affecting the reverb. There's also one that I put in this macro over here. So I'm using an AR verb. And then as well, what I'm doing over here is and let me see. I think this is for this dry wet knob over here. Yes. So this is kind of so I'm not affecting anything in this actual chain. It's just the whole kind of vibe of the chain that I'm affecting. I've an AR verb at a hall to and then just I didn't mess with these too much. I don't think I just kinda went through these presets, found something that kinda found right or excuse me, felt right. And then adjusted the time, the size, pre-delay, things of that nature. I'm enqueuing the reverb. So this EQ, this is a simple EQ. I know I didn't eat a lot of notches. I just wanted something kind of for a high pass that I'm just securing a rather low because again, like I said, that's what this kind of H delays doing, that HCl is going to be taking up a lot of this kind of like a mid-range space. And so I don't need a lot of that super low-frequency. I'm just trying to boost. I'm trying to get this reverb to sound bright. So I'm boosting the EQ's only in this reverb. And then because I'm also boosting that again, I'm also guessing. I said actually I could probably push this up a little bit higher because we're in this higher range. I'm also going to be decreasing the reverb as well. So this sometime I dial into, and this is where we get real fancy. This is fun. Is, this is not a concept we're going to dive into too much, but I am side chaining this compressor to the vocals. Meaning when the vocals are engaged, the reverb is not as prevalent. I'll, I'll AB as you can see what I mean. But when the vocals I want, when I really want the reverb is not when I'm wrapping singing. I want the reverb to come in. When I stop the bar and then fill in, then it fills that space. My vocals come back and the reverb comes back. It's almost like this dance compared to while I'm wrapping singing. If the reverb, I don't have that kind of gated, I guess, or side chain, then it just feels like it can get muddy really fast. So I'll show you what I mean. I'll turn this off and on you putting and I'll bring this up so you can really see what the difference is. So let's go like this. Let's go, let's go up like this. Got me in mind. And we'll see what I'm saying. Otherwise, it's just always reverb me all the time compared to this way, the vocals and you don't have, it's not muddy while you're actually performing your vocals. Play in 2020 freedom. Tell me what you think. And again, I map this macro over here so you can kind of adjust it as needed. When you putting money Freedom Day, maybe somebody was mine. You can meet on the way. That feels about right. I might doubt I'd even back a little bit, but that feels about right to me. And then moving right along, this is a Meta flanger. This just pretty much makes things. I'll show you what I mean. But this, again is kinda widens it. I find it widens it a little bit about me and what do you put it down? So you feed it like Chris Brown uses these a lot on his vocals. And so I'm going to bring that actually down. This isn't again, this is light touches, light touches small subtle changes. So it makes it feel a little bit more wider to me. Got me and what do you put it down? So Plenty Freedom Day, baby, Tell me what do you got to remind you and me on that. Cool. And so that's kinda the flanger. And then the last part that I'm jumping to you guys is these kind of final touches, the parallel compression and this thing called the vitamin. 6. Final Touches: Okay, so for this last bit, this is pretty much parallel compression where the vocals, this is, again, this is a very kind of these compressors, I'm going to go, I go intense, I'm going to smash these compressors, but then only bring them in a little bit. So these are going to be super wet compressors, but then I'm just blending them in so that you, it has a little bit more power. And so that's what this parallel compression knob is for this last, final one. I'm like I'll show you here in a second, but this is the first one that I have. I have two different parallel compressors going on here. You could probably get away with one. I was just having fun in trying to catch the vibe. So this is what I got going on here. Again. Smashed right ratio, all the way up, mix, all the way up, attack, super fast attack, fast release. Do you think clouds on it now? So to me on the exam you want to choose whale? Slight, like I said again, it's slight changes, just gives a little bit more presence. And then this one I really smash. This is an air compressor I'm smashing all the way. And this is the one that fast attack again. Okay, But Elise, and this is the one that you're just going to blend in as much as you want it to taste over here. Well, he wouldn't be so o you Freedom Day baby. Do you think? Well, hold it down for me on the way I'll be touching me. And so that one really depends on how much you That's kinda how loud or soft your voice is. And so are how loud or soft the vocal is and how much you want that parallel compression. When to leave that off for now, because I'm going to blend it in after adding this vitamin. So this is kind of like this isn't a multiband compressor exactly, but it's, it's interesting. A cool plugin. I'm still learning this plug-in. I'm not going to lie, but it has these different kind of bands that you can add or kind of take back vibes from social glutamine. Again, because my lows, I could tell the way that she saw me hit the EQ is really hard. It my lows because where record is so bad, I don't want to bring out a lot of lows. And so this is what it sounds like with the vitamin. So obviously there's a lot of volume coming out of that. So I'm actually going to turn this output down a little bit. Well, you put it, maybe tell me when you go on you. But as you can tell, I'm a really this is what I'm really trying to get that Tory lanes brightness, I'm boost in the highs. After everything, I'm really trying to bring out that high reverb Beidi sound. Way of putting somebody on you can meet on the way I'll be touching or he wouldn't. And this is going to probably bring back the little bit of the parallel compression over here. Well, he would tell you freedom that you maybe tell me which one you think. Assistant tutorials again. Do well on it now. And me on the way, how we touching. When you put all your freedom. Do you mind? And then if we add an a doubles back in and did these levels, I sang it a little bit lower. Let's see how it sounds with those. Well, he wanted freedom. Baby, Tell me what do you think. Well, on me on the exam, you want to change the way how he put it down. And that ladies and gentlemen, is how you mix some Tory lanes type of vocals. Again, if you want this studio rack preset, you can find it in the description below my website where I've got a bunch of these different vocal templates that I'm working on. If there is somebody who inspires you, you want to learn how to make their vocal chain, please let me know. And yeah, I'd be happy to recreate that for you. So Tory lanes, huge inspiration, again, is this exactly Tory lanes? Of course not, but it's definitely in that same ballpark. Hope this was helpful. They seem for watching and I'll check in the next one piece.