Learning Mastering In FL Studio | John Cold | Skillshare

Learning Mastering In FL Studio

John Cold

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11 Lessons (30m)
    • 1. 001 Introduction

      1:51
    • 2. 002 Getting The Tools We Need

      1:15
    • 3. 003 Understanding Mastering

      3:27
    • 4. 004 Adding The Clip to the Playlist

      1:31
    • 5. 005 Reducing Volume

      2:47
    • 6. 006 Adding EQ (Part 1)

      7:17
    • 7. 007 Adding EQ (Part 2)

      2:44
    • 8. 008 Understanding OTT

      4:13
    • 9. 009 Compression

      2:33
    • 10. 010 Limiting

      1:13
    • 11. 011 End

      0:53

About This Class

In this class we gonna learn about mastering music in fl studio

Transcripts

1. 001 Introduction: Hey, guys, my name is role, and in this court, they're gonna be learning about mastering and how you can master your old music and fl studio. You can master any genre in this digital you worship. It's pretty good. And you can actually make something that's sound. Ah, passion doesn't sound good. And you can make that very, you know, amazing. And Sandra So what we're gonna do in this one, it's people just look at the plug ins are provided by the FL studio guys and feel other plug ins we're gonna be using in this. And that will be the free ones that are available for free. And they're not really the expensive and fancy ones. They're not really required. Um, unless you're, like, you know, doing some really, really big stuff, which actually not the case here, because we're just beginning to learn how to master. And for beginner beginners, I would suggest to use the Republicans and the plug ins there are inside and within your digital audio or station. So, yeah, I guess hopefully you're gonna be enjoying this course, And I'm gonna be telling you one thing. Uh, the next one. Um well, that will be that how many planets we're gonna be using and what plug ins you need, Uh, actually get started and using used the plug is that are available inside a full studio, and we're gonna be using both of them. So So with using the upholstery and that the ones that are third party once and of course, it will be free, But they will be different, and we're abusing them as well. So I will team next one in help. Good one. Yeah. 2. 002 Getting The Tools We Need: are. I guess so. We're gonna be using this third party playing here, and the third Republican will be this O T t over the top compression plug in they're gonna be using. It's pretty pretty cool. Plug in and it's for free. It's by expert records. So definitely you can grab that one for free by going here. Https slash slash expert, Go start com slash freedom. All right. Yes. So when once you download that, uh, you won't dellape for Windows or if our Mac down low for Apple and install that one and then and then we're gonna want to do is to just go here and click on this plus icon, go to more plug ins and then select the O T. T, which should be here. And once you've done that, that close that one, and you're all set. So yeah, that's what it is, guys, that this is the only plugging were using in this course. Ah, this is the only third by plugging that should say we're gonna be using in this course. So, yeah, that's already is. And I'll see the next one 3. 003 Understanding Mastering: So have you ever been wondered why your music doesn't sound that good and isn't on par with the with the industry strangers? So you definitely must have known that mastering is really important part off production. And here I am. So we are going to be learning about how we can master on own music without even paying 500 or thousands of dollars to to hire a music mastering engineer. Yeah. Um what? What's basically mastering is it's nothing, but it's a way to fix major issues, and it's also balancing and adding that crisp into your final mix. Now, mastering doesn't mean that it can just do magic. And it can just, you know, you're gonna have a poor mix and just very amazing master and just sell the songs like, you know, big artists. You need to have, uh, actually a decent mix first. Um, not really important that you can just, you know, you could just have a decent mix, like normally, mix in balanced, you know, makes. And then you can actually add that in your mastering station. So do you need to hire a mastering engineer? Um, some people may see that you need to. But the answer is that if you knew what mastering is all about, you don't really need to, you know, higher mastering engineer in late, paying hundreds thousands of dollars. And you just need to know basic set of tools that you need to master music. And there's nothing but ah, but the slightest Italians. And it's like an art and something middle. That and just, you know, if you could just, uh, trust your years and just listen to whatever it just sounds good and just, you know, sets own part of it. The industry standards. Then you know, you could just have a really good sounding song and final product and master can help you with that. It can give you a final product that can actually be sold on iTunes and Amazon. Are Do you play music? Spotify? It's extra. So in this one, we're gonna be looking at how we can actually achieve the best. You know, final product. I'm not gonna be teaching you how you can mix your sound. This still me about mastering here? If you can just get a decent mix, Uh, your master is gonna be really, really good and yeah. So how are we gonna do that if you know how to mix their song? I mean, if you know how you gun normally makes it everything master is gonna make your song really , really top notch and polished. So let's jump right into it and I'm gonna see you in the next one. We're gonna be looking a few more things and we're gonna be understanding our tools before we jump right into master. 4. 004 Adding The Clip to the Playlist: Alright, guys. So let's just ah, load the sample that we need. And we need to master this simple right here. And I worried a little bit. So the way you do it is by going into Edison and then just opening it out and then going here in the floppy icon and loading the sample. So I loaded this sample right here, and this one is the clip that we're gonna use to master. It's not really master at all. You can see that there are not the there no peaks here, and it's not clipping at all. So what we need you next is people just, uh go ahead and load that up. Um, fully I'm going to use this drag and drop set a sample selection icon, and then when you just tracking, drop this. All right, so there we have it, and we can just zoom a little bit, and then we can just color this one. Yes. Here we go. And that's basically it, guys. So what you need to do now is just full along with me is I'm going to do the better off, um, stuff in the basics. And the next week 5. 005 Reducing Volume: Or I guess so now that we have loaded up the sample and the clip that we're gonna use Ah, next thing we do is just make sure that our sample in our clip it's not really clipping and has enough headroom to master. And you can see why I'm talking about this because you can just smash your, um, something that's already master. It's going to sound really bad, and that's basically what I'm not gonna do. So I'm just gonna go ahead into a master and I'm gonna so like the, um the wave candy right here. And this is going to tell me that how much of the volume is? Ah is present in the clip so we could do do something here. We can just select some other sort of wave candy. And this should be it should be this one. No, we're looking at yes, of this one pig meter and it's gonna tell us Ah, the peak. So I'm just gonna go ahead and play this clip right here, and then we're gonna decide whether it has enough bedroom or not. So here we go. Yes, As you can see, that there is headroom here, but it's not really enough for us to master. So we're going to do is we will just remove any limiter going around here. I mean, there is a little better here. And if you have ah, the have loaded the basic sort of template. Basic one. Um, actually, this one right here basically limiter it comes with the the Yeah, it's actually the default one. So probably you have this limiter on here, so you need to remove that because it's actually adding a little bit of gain, which we do not need right now. And once we do that, we can just play again. Yes. So, ah, bit off headroom has been reduced right here, but we need to make sure that our, um there are Ah, clip clip actually gets, ah, at least minus 4 to 5 dbs off. You know, headroom. And then, yeah, we can use that. So going do is we will just turn the volume of this just a little bit. And around 70% should be fine. 6. 006 Adding EQ (Part 1): Yes, the guys. You need to make sure that you have at least minus 60 beats off headroom. Um, because it's important to have at least this much headroom to master. And if you're if you haven't actually, um, gotten that much headroom all you need to do to just turn the volume down. So I've been ahead, and I turned the volume to around 60% just so that it actually gets enough headroom. Uh, yeah. So we can use that and then weaken, master it, and he's got moving on. So we have Ah, the the thing going on here and the first thing we do is just, ah, tell you the basics off off your tools, actually, what basically unity and learn is that you're chilled hash. It has to have a you. Yes. You need to have the knowledge of your tools. And you need to make sure that you actually know how your tools work. Otherwise, it's not gonna be helping you. Ah, in any way. So, yeah, the first thing induced you just tow add up a fire up and e que here I'm gonna fire an e que right here. And I'm gonna tell you the basics, all of that, Um, so that you understand it because it's the first thing I used to know in order to actually get a very good master. Yes. Here you have the cure here, and there are actually other excuse out there, which can be helpful if you're not really a big fan off the the paramedic Parametric eq. You basically what you need to do know is that all these bands right here are limited, and they're not really as accurate as you can. Finally, pro cute to buy fat filter. These guys were actually, you know, we're very, very big, and then you you don't really need to know them properly. Um, in the beginning, you know, you really don't need to happen in the beginning, I should say, because the dog presents you with a lot off cool tools. And if you actually are just starting out, you need to know that your doll has, like, a lot of tools that you really need to know first before actually diving into some other tools and third party buildings, stuff like that. See, I'm just gonna, uh, tell you the basics here. This is an e que here. And we need to make sure that we make dips and cuts first. Because some of the frequencies might not really please your years. So we need to make sure that those sequences who are not that pleasant and should be removed yet. So the first thing on a juicer just turned off the eso minivans air here. So I'm gonna just turn off some of those. I'm just gonna remove few of them, which I really don't need. And yeah, I really like to start of it. The only three bands, and then we can just move y add more. Yeah. So we're going to use. Ah, I'll just, uh, increase. Sorry I'm screwing Greece. Is I'm just gonna make a bell. Could hear. Um But before that, I'm gonna tell you how you can, actually, For with this, there's one very cool feature about this. E que It has this key thing here. So if you load up this key kind of feature here, it will tell you in which key Ah, your your snare. Your kick drum is it's It's pretty cool. I mean, not really. Every Q has this kind off tool if I just fire on this one here, it's just gonna put me there. And I could just boost that frequency up. Um, yeah, I just boost it up a bit. And then these frequencies that I need, which are actually in my songs Um, yeah, so I'm not really boosting any other frequencies. That and I'm not really getting out of the key. That's really funny thing. And cool thing about the EQ you right here. Now I would do is we will just, uh, first of all places CQ and we start from scratch for here. Yeah. Um, what I'm gonna do is I will just start here. And first of all, first of all, I'm just gonna make sure that my I q is set too low. Pass. Yeah. And I'm gonna make sure that it's ah, steeped e que? Yes. I'm just remove. Ah, See, the frequency there are not audible to human years. Um, see, I'm just gonna make a high pass. Um, low pass filter around 16. 30 18. Yeah. 19. August 19. Should be fine. And there's gonna change the the order. Yeah, just too bad. So, yeah, I'm gonna do in around 19 Because it's actually, uh, it's gonna help you reduce all the frequency. There are not really acquired. Yeah, I was moving on. Um, I'm gonna go ahead and I remove all the frequencies below. Trainee I'm tearing up built me through below 25 because they're not really audible at all and but even feel them. Although you need to make sure that you can, uh, you're making songs for, like, if you're making a pop song. No, you shouldn't. You should actually cut it off. Nobody's gonna listen it. If you're making a club song, however you need to how you just leave it right there. So for this case, I'm just gonna leave it because I'm actually making any GM club song. So that one Yeah, it's not really acquired. Uh, actually cut it because it's already cut right there, So, yeah, um, that's what it is. Guys, I just wanted to cover to this one here. Um, And what One last thing I wanna do is just, uh, go around 300 hertz and then removed just a pedal frequencies just a bit and yeah, it's it was really peaking at that time, but I just listen to it, so just remove it right there. And you need to make sure that your songs are not really, you know, they're tamed and, like, they're not really going everything. So yeah, that's what it is, Guys. This the first you go, don't apply. I'm gonna apply another e que and I will do that in the next one. 7. 007 Adding EQ (Part 2): or I guess so. Let's just go ahead and assign a free mixer track to this clip. So the way we do that is by clicking over here. If only I could just do. Yep. On and then adding this kind of track to hear because I am the first track to this clip, I'm gonna go ahead into my mixer again, and then anything that's gonna just affect it, um, the yeah D clip will be in this channel in this mixer channel right here. All right, so next thing I'm gonna do so just at another a que. And we have booster models frequency there are placing and cool and yeah, so let's just give it a play for us, and then we'll just boost in, you know, reduce all the frequencies right around this point here. Ah, I'm going to do a bit off. Ah, reduction. Because I don't like this one right here. Around 5 50 Hertz should be good. And then justice deep one 15% off steepness. Yeah, and he was next to moving on. I'm just going. You boosted this just a bit. Just to add that air kind of lead the field to it. So it's just gonna give it the air. And around 5 5000 hertz, I'm gonna boost this one up, and then, uh, yeah, it's just gonna give it the the feeling the power of the song as just gonna give it that you're gonna make it peaking again because I don't want the most right inside. If we consist, you do to just actually boosted. So I'm gonna make it peaking and then just reduce the queue. Uh, yeah, just about All right, So it's gonna give the pleasant kind of feel to it. And then that's what's clear, guys. That's what it is. I'm gonna just, uh, yeah, gonna wrap it up here and next one. I'm gonna just look at how we can add some more dynamics to the song. Some more parent punches 8. 008 Understanding OTT: all right? Yes. So I just transferred both of the e cues that we just, uh, yeah, used previously to this master track because I feel like it's gonna be better if we just throw everything on the master he has got moving on. So next thing want to do is just, uh, add a a compressor on l b o t t. It's actually not a very, uh, you know, decent compressor. I would not say it. That kind of compressor that actually does gain reduction in a. In a sense, it does pretty much actually compresses things, but it's actually a multi band upwards diet downwards compressor. It's pretty cool if we use it really, In a cool way, it can actually give a lot of good effects and kind of thing. So I'm going to tell you the basics of this Here we have this depth here. It's after the mix percent off this and you tell the Yeah, so if if it zero person, then nothing is gonna be no compression will be applied if full, then you know, 36% off this o t t kind of thing will be applied next time. It's actually kind of like attack. I would say if I turned this to let a little bit less so directly, everything is gonna be effective. And it's kind of not give it that much time. Yeah, moving on. We have ah, gain. So is pretty much the inside being inward skiing that's tertiary is get a redo reused the the kind of thing, the signal that will come through this and then it will just reduce it around there. And there is this output gain which will affect the overall gain of the track of the signal that's coming. And yeah, that's what it's eso. The next one is upward and downward. So both of them work pretty much, Yeah, in a good way. I feel like I used downwards more because upwards doesn't really give me that sort off crunchiness, I would say, although it worst pretty good bye. I don't have made it to it. Tweak the downward pressure. Yeah, So, um, basically, we're in doing this song. We will just use both of them when I could touch any of them. Because I feel like avoiding down compression do the job for this song. I feel like both of them tribute Get Yeah, that's what it is, guys, your next thing is this vehstree bands we have. There's the high band and it's actually controls The Highness and the high frequencies. And actually just it's very cool. To be honest, it actually adds crunch to the song, and you just have to mess around with these and yeah, we'll do that. The next one is middle frequency kind of thing. It actually admitted nous to your song, the metal frequencies that are actually not. Sometimes they're not present, so we can just add here and there. Last one is the low frequencies. It's the sound really required. I believe in the for the song, but we fully use it, actually asked the little frequencies. Around 200 or so, I believe are on this point as she asked the the little frequencies and actually boost them up, which is pretty cool if you're making sort of bass music and kind of dumpster or trap or yeah, bass heavy music and discuss, That's what it is. I have the ot loaded up here, and the next one will do. Is people just tweak the stone? Did he so that our song sounds good 9. 009 Compression: or I guess, moving on. We are going to now compress our audio and we're going just to a little bit off compression after the o t t. I feel like, oh, titties during the job. Very well. But we need another sort of compression which will add more better. I mean, which will improve the mix. And yeah, So we're just, uh, use a compressor which is built in and comes to it fl studio, and I'm gonna use the first of all I'm going to use the limiter, which is gonna be this. It's actually a compressor. Aziz fell pretty limiter. It also does the compressor job if I just open it up. It also has this compressor knob which actually pretty good itself, and it's gonna do the job for us. So what we do is we will just look at how much compression were on Kenny. And if I feel like this is just the you were just remove the threshold to around minus 12. Db will work here, and I'm going to just, uh, add the ratio to about, um three, something at three. All somebody at a literal attack to actually increase the increase the attack. So I'm gonna just, uh yeah, the compressive will work after one millisecond that makes them get to milliseconds. And I'm gonna keep their release to the same and sustained to be the same And yet everything just saying. But the only thing I can do now is I will just add a bit of gain because we're gonna be losing and gain over here. I'm gonna add about freed four decibels gain, and it's gonna just give us the little bit of King that we just got reduced and just gonna help us to achieve that, you know, full sound and heavy center. Yeah, So I'm just gonna take bad and just gonna put it down. And if it's just gonna add us, give it more off the compressed sound, which is gonna help us to actually make the sound better 10. 010 Limiting: all right? Yes. So the final thing that we should be doing is we will be adding another 40. Demeter and I will just be a litter itself. And yeah, that's just gonna give us the added gain. And it's gonna help us to achieve that that, uh, full gain that we need And that way here in most commercials, songs. All right, we just add in, uh, tighten up the gain. I understand. Agrees the gain volume turned four db again, and I'm gonna just, ah, make the saturation to be days ceiling. Everything looks good, but at interested, it's just gonna help us increase that sound. We can also do, Ah, one thing that we can just use a preset, and we use this one Max loudness and slight saturation. That's just a normal kind of priest and that we can add, and it's just gonna give us the powerful sound that we need, and it's gonna help us achieve that. Full Ah, loud Sam 11. 011 End: all right, guests, So that's fiscally eight. I mean, that's all we have to do to master this piece. We have had compression. We have added O T T. We have reduced the frequency that that we don't need. That's all we need to do. It's actually master this piece, and the last thing you can do is to just go and check your gain. And adult Brooke that it could be different. I mean, if you're using something else. If you're not using this file that I'm using this song that I'm using. And if that's the case, then you could just treat the gain knob to check where it sounds good to your ears and sounds loud. But that's risky. And guys, So I wanted to cover up, and I hope you enjoyed it and all to you in another course of mine.