Logic Pro X Mixing Course For Beat Makers - Module 1 "The Pre Mixing Process" | Joseph Evans | Skillshare

Logic Pro X Mixing Course For Beat Makers - Module 1 "The Pre Mixing Process"

Joseph Evans, Make Better Music Now: Follow Me

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12 Lessons (1h 9m)
    • 1. About This Logic Pro X Mixing Course

      4:10
    • 2. Module 1 - The Pre-Mixing Process

      1:07
    • 3. Getting Organized

      4:22
    • 4. Sound Selection

      3:22
    • 5. Creating Drum Kits Using the EXS24 Sampler

      13:35
    • 6. Replacing stock drum sounds (part 1)

      10:11
    • 7. Replacing stock drum sounds (part 2)

      8:10
    • 8. Replacing stock drum sounds (part 3)

      5:07
    • 9. Replacing Instruments

      3:35
    • 10. Cleaning Up The Track

      2:44
    • 11. Exporting Your Session as Audio Files

      3:50
    • 12. Creating a new session for the official mix in Logic Pro X

      9:04
18 students are watching this class

About This Class

This is Module 1 of THE LOGIC PRO X MIXING COURSE FOR BEAT MAKERS where you will be learning several production techniques you can use in the production process to make it easier to mix your beats.

Please consider taking all 4 Modules of this class in order to get the full benefit of the information.

Click the links to enroll!

Module 1: http://skl.sh/2r3Lo40

Module 2: http://skl.sh/2rK2lm0

Module 3: http://skl.sh/2rKpLYA

Module 4: http://skl.sh/2rK9AKU

 

Thanks in advance for watching! 

*** MORE ABOUT THIS COURSE ***

If you want to get pro mixes on your beats and you use Logic Pro X, then please continue reading.

One of the leading causes of missed opportunities in music production is having a bad mix, wether you're competing at a beat battle, submitting music for a placement opportunity, or selling your music in person or online to an independent recording artist. And if you've been struggling to achieve success in these areas it might be that you need to improve your mixing skills.

I was once in your shoes, a music producer with great talent in the area of creating beats, but lacking in the area of mixing my beats. I would send my beats to an artist or manager and would get the same response, "you need to work on your mix!". So thats what I did. But like you, it became very frustrating searching online for the answers, simply because all of the information was either incomplete or scattered. So after many years and even getting a degree in Recording Arts, I finally found a way to make sure that my mixes are on point, and after you take this course you will too.

In this "Logic Pro X Mixing Course For Beat Makers" you will:

  • Understand the mixing process
  • Address several things hurting your beats
  • Improve your sound
  • Make your beats sound more professional
  • Operate Logic Pro X's stock plugins to get a better mix!
  • And much more!

The course starts with tips to help improve your beats and make it easier during the mixing process by selecting the right sounds. After taking the first module you will understand why certain sounds work well together and why others don't. 

The course also comes with downloadable source files to a beat that we will mix together in Logic Pro X step by step, covering mixing techniques such as:

  • Organization 
  • Leveling and Equalization
  • Compression
  • Adding Effects
  • Panning
  • Automation
  • Adding final touches to your mix
  • And even several mastering short cuts to boost the overall volume of your beats!

If you have any questions or suggestions along the way, I am here for you and will respond within 24hrs.

So if you are someone who is new to mixing your beats or someone with experience that would like to polish up your mixing skills in Logic Pro X...

Then enroll in this course today!

Transcripts

1. About This Logic Pro X Mixing Course: be making basis. Hey, was going on. I'm Joseph Evans. Also go by. Every J just wanted to welcome you to this course on. Mixing is very important for me that you get the training that you need to make sure that your beats are on point. Because I really, for a long time struggle with mixing my beats so much so that I had to go to a professional recording school full sail to learn some tips. And I've been, you know, getting tips from other producers and different things to this point now that I'm confident enough that my music is on point and I wanted to put all of that information in one course how to make sure beast in light of protein. All right, so this course is broken down into a couple of different sections. The first section is the pre mixing section where we're gonna be dealing with how to make sure that your beat is on point so that, you know, is going to be easier to mix it. You know, a lot of times ah, lot of producers. When it first, starting with mixing, they fail to realize that the sound selection that you choose or the drum selections that you shoes and even organizational aspects of things can affect how easy it is to mix your music. Okay, so that's what we're gonna be covered in the first section. The next section is actually getting into level Lean and queuing is where we're gonna balance out everything and we're gonna talk about frequencies and how to properly e que your tracks. We have several different types of EQ Ewing's attractive and additives e Q and will be going over that another section we're going covering is compression. OK, I'm not going to just be saying, you know, covering basics on it. I'm gonna be showing you what a compression is, what it does. What are the different settings? How to manipulate the settings of a compressor? Um, several different other compression techniques, like parallel compression side chaining, all those different type of you know, things that you need to make sure that your music sounds boosted to make sure certain instruments poke out on the track. The next section After that, we're gonna be basically covering, you know, some tips and tricks. Okay, How to add reverb how to add you know, pan your music automation, and then finally gonna, like, go ahead and bouncing down your track, listening to it on different speakers, different things like that, just to really make sure it's polished. Okay? And And lastly, I'm gonna give you a few tips on how that you can master your your music, Okay? For fairly, fairly low amount or master right there in the program. Okay, well, this is mainly dealing with the mix. Okay, So the main thing I want you to understand is that is going to take time to get your mix is better. You know, this is something I do every day. I have to mix my music every day to even get better, even myself. You know, I'm saying so you have to put in the work. It's not like a something that you can, you know, push a complete a button or two and all setting how this great mixer there's some type of template that you use, and also you got great mixes. The truth of the matter is that the reason why templates don't necessarily work is because every track is different and I would go into this later on when it comes to frequencies. All different sounds have different types of frequencies and everything. That's why you know, it's important to understand the fundamentals of mixing into in order to make you know, good mixes. But without further do man, let's go ahead and jump in the course. I want you to know that you can also hit me up if you have questions. This is more so, like of a beginner to intermediate level course. So there might be certain things that we don't cover. If there is something that you would like to know or, you know further, we could be expound on, Feel free to hit me up. I might even, you know, do another lecture to to explain it and help beef the course up even more. So, yeah, let's go in and jump into it. One last thing, though. There's a project that you're gonna have to some project value going to download. So I have a beat that you're gonna see be mixing in the course download. Make sure you download that beat and follow the instructions. I'm gonna pretty much be walking you through step by step. Some things you can do to the beat and there's gonna be a contest actually see to see who mixes to beat the best. And I'm looking forward to hearing your results on that as well. Anyway, let's go ahead and jump right into the course. Thanks for watching piece. 2. Module 1 - The Pre-Mixing Process: be making basis. All right, what's going on? Welcome to this first module where we're going to be covering the pre mixing phase. Okay. And in this particular module, basically, where we're gonna be doing is I'm gonna give you use, um, several production techniques that you can use to make sure that your beat is ready to be mixed. Okay, so this is where we're gonna be covering, you know, basically sound selection. All right, Which type of sounds work best, which your beat based on what type of beach you're doing, Making sure you have quality drum sounds, Making sure you have things together. Organizational wise. There's a lot of different things you can have to do to your beat, just to make sure that is properly, you know, prepped for mixing. And that's what this this milder was all about. So make sure you go to all the lectures. If you have questions, make sure you go ahead and ask me. There's also going to be a link to download the beat. Okay, I make sure you do that because in module to we're gonna, you know, actually get into actually mixing this track. OK, so thanks so much for watching. I'll see you in the lectures to come 3. Getting Organized: be making basis. All right. Welcome again to this course. What we're gonna be doing in this lecture is going over. Organization. Organization is very important to work flow when it comes to mixing your music and especially in the preproduction or pre mixing phase of the process. So the first thing you want to make sure that you do is listen to each of the tracks and properly named them. Okay, you could do this several ways, but the way I used to do it is I go ahead and create a loop over the course, mainly because that's where most of your instruments are gonna be playing throughout your beat. All right, so I get this loop right here is easy to do. You just click over here on your ruler and drag it out about you know, how longer courses and then you so out each track and listen to it. Make sure that whatever you have here in the project window correlates to what it actually is here in the tracks section. OK, so I'm gonna solo this out. All right? So obviously, that's a kick. Now, I've already, you know, went do this and named it, but I'm gonna kind of go through how you would do it too. So that's a kick. I would double click right here on the track, and then I would just type it on my keyboard kick after I type, it puts inner and it's done. I will keep going through the process. Go to the next track, solo it out, listen to it. Make sure that whatever I say it is right here. That's what it actually is. Name it and it's go through the process of doing that. And the next thing I also do is I organize it because sometimes when I'm making beats, things might be kind of all over the place. I might, you know, start start off with a kick, didn't do a clap. And then next thing I know, I'm also working on ah, Melody part. And then I go back to the drums. So a lot of times, my beats are all over the place. What you want to make sure Did you do, um, or I recommended, you know, listing all your drums at the top and then listing all of your melody instruments of the bottom. So you want to go through everything and list of height, the lower frequencies at the top and go from low to high. Same thing with the melody. So, for instance, say if you have this ate away down here, this is a lower in frequency show. I will bring this track up here to the top. And again, this is how I do it. It is. This really helps what Workflow wise? Um, sit. Same thing with assemble. That's a higher in frequency. So it's gonna be in the drum section. Okay, so I put that up here and ah, keep on going through that list so, as you can see now looks a little bit more together. It looks a little bit more ready to go. It's gonna help workflow. The only problem is, if you look over here in the project window, all of this stuff is very unorganized cause you have different names of the original instrument sounds. And you don't really know if you were to look right here what you're working with. So what we want to do is name the tracks in this region, which is what is called or in the project window. Now there's two ways to do it. I'm gonna show you both, but push it. What you want to do is you want to select all So what I would do is I would click in the project window and then I'm gonna push command A that's going to select everything. Then the 1st 1 to do is to actually click on the region and click on Go down to, ah, name regions by tracks. All right, so if you click that all of these all the names you see right here are more to correlate to your project window. But the way that I usually do is using a hockey which you're gonna push down option shift and the letter in, as in Nancy. And now, as you can see, all of the names that you have here on the your tracks are the same names you're going to see in your project with window or in your regions. This is very important. Don't skip this step. It is there that basically help you with workflow, you know, because how are you going to be able to stay? Army need to turn this up or turn this down If you don't even know what the track is or where it where is that? Or say it. You know, if you have snares down here and bales up here and in bases up here, I mean, it's gonna is going to take longer and is gonna basically make it more frustrating if you don't have things organized. So make sure you organize your tracks. Thanks for watching. 4. Sound Selection: be making basis. All right, so now that everything is organized, the next thing you want to do is really focused in on sound selection. A lot of times when we're creating, we might make beats and, you know, at the time it sounds great. But then when you go back to kind of like, listen to it again, you notice that some of the sounds don't necessarily work together or even some of the drum sounds don't sound like, you know, like they're supposed to. And so what? The first thing you're gonna want to do is listen to critically listen to the tracks. I'm gonna turn this down so it's not blaring, but you want clear Clinically. Listen to your music. How you do that again. Find a section with where you know most of the instrument sounds and drum sounds or playing into it was usually the hook. Create a loop. Okay. And then what you want to do is push play to check it out. Now, as you here to be this critic cool or whatever, but there's some things that I would particularly work on. Let's start first off, talk about the stock drum sounds because he stopped drum sounds don't necessarily hit heart , you know, I'm saying is going to really take a lot to doctor them up. You know, I'm saying to actually make him sound good in the mix. So this is something I would do in the pre mixing process, which would be to actually switch these drum sounds out which some more professional drum sounds that are already mixed. So that way, when you actually go to mix your music, you don't have this less work that you have to do. And plus, the is gonna hit harder and everything like that. You're going to do the same process with the melody. Like, honestly, some of these sounds could be updated with maybe some better sounding synths and things like that, or they might be fine. But that's something as a producer that you want Teoh to do one of the ways you can get better at sound selection and everything like that is do listening to, you know, music. You want to be listening to music all the time and critically listening to it. Okay, not just listening to it for fun. Listen to the type of beets that they You are instruments that they used. Just listen to the quality of the instrument instrument that they use. All right, in the next section, there's our lecture. There's actually a, um or actually, in this lecture, there is a critical listening exercise that I want you to fill out. Okay, It's a pdf. You could download it, and then you basically gonna follow the instructions in the pdf is gonna help you to critically listen to music is counting the tracks is, you know, listening to what type of instruments are using listening to different, you know, techniques that these professional producers and mixing engineers are using to get their music to sound the way they sound. So please go ahead and download the pdf document and complete selects the critical listening exercise is definitely going to help you when it comes to taking your beast of next level, especially with the pre mixing process. Thanks for watching 5. Creating Drum Kits Using the EXS24 Sampler: be making basis. All right, So we understand that we now have to maybe switch out some of the sounds that we have in the beat because, you know, you want it to be at this best quality. What we're gonna be doing is covering how to use the E X s 24 sample er to create your own drum kits. Okay, using professional sounding drum sounds. OK, now, the reason why I'm using the excess 24 sampler because it's a stock plug in in this course , I want to teach you how to mix using just primarily the stock plug ins. You know, there's a lot of plug ins out there, and I don't want you to get confused or basically not be able to use this course. So that's what we're what we're gonna you using this access 24 sampler. So anyway, let's go ahead and jump into it. Now the first thing you want to do is you can create a new track to do this software instrument track. And, you know, you saw what I did pretty much just click on the plus sign and you're ready to go on that. What? You're gonna do is go over here, make sure that the inspector is selected. I a top right here, and you're going to go ahead and turn this down. Okay, this is a send. This is basically sending a reverb signal to this track and turn that down. But you don't want reverb off the top on your drum samples. The next thing you're going to do, please click right here to the far right where it's where you can see the instrument right here. And once you click that this window is gonna pop up this where you access to e excess 24 sampler. So scroll down or up to the E s ex r E X s 24 sampler, you could select stereo. You can you go exchange of the model later, But you could select stereo. And once you select this, this guy's gonna pop up all right Now, it could look very daunting. At first. You wouldn't be even really big detail like, how could I actually even create drum kits with this? But all you're gonna do is go to edit, And once you click edit, this guy's gonna pop up. All right. This is your sampler. What you're gonna do is very simple to create the samples. These jump samples is gold to instrument and click on, uh, new. And then this is gonna pop up here. What you're gonna do is go to your computer. Wherever your drum sounds are located, I go to my finder. You can go to your your Mac book pro. Wherever you're syndrome. Samples are basically goes Aware of your drum samples are I put my drum samples in this drive right here, OK, I have all these sound banks and drum kits right here. And what you want to do is go to the drum kits and select the drum kits that you like. Okay. So, for instance, let's just say that we're going to go to this Gianni Giuliano kit Sames little plug for him . Basically, um, and you okay, I want to, you know, get some eight awaits bumping. I want these eight ways to be in my drum kit. So what I would do is I would select all these drum kits are drum sounds, click on here and then come down to the very bottom and push shift before I click on it, and it's gonna highlight all of these. And I'm just gonna simply drag these sounds right here where it says name bone. Now, once you do that, you're going to see that you can add your adding these 20 samples. There's different ways to Adam in here. But for the purposes of this course and the purposes of what you're doing here, just push continuous zones. All right. Now, when it says zone with you can pretty much make it, make the samples extend over a couple of notes or just one note. And for our purposes, we want to put it over one note and with this right here says start, note. This is where it's going to start on the actual keyboard. So if you wanted to start at the very bottom of the keyboard, say it's the negative one. Now, you basically need to come over here and change it to see negative one, or you can type it. You say, see, negative one, bam. And so then we would push. OK, all of those eight away sounds are gonna start here and go up the keyboard until there, you know, till all 20 samples are laid out Someone push. Okay. And bam. Now you are eight awaits. Okay, now a court couple of things here that you can do. You can, um when this is selected, pitch right here. It basically saying that is going to keep the original pitch of the sample. Okay, If you don't have select this depending on the type of sample did you have it can mess up. You know, your sample in your sample could sound real low dependent or high went in where you put place it. You also want to make sure that one shot is selected. Reason why is because, Like, for instance, if I play this town, I have to actually hold it down the whole time. That could be kind of a bad thing based on, you know, the type of instruments that you you're gonna be putting in here. So make sure that this one site is selected depending on what you want to do or type of sound that you want. You could push reverse, uh, this kind of dope. But for most, for the most part, we're going to just keep it like this. And what I would do is I would keep on going, I would say. All right, I got my eight awaits. So now let me go ahead and get a few kick drums. Kick samples. All right. So I got these kicks and course you don't. Maybe, you know, you don't want to put all these kicks in here. I was gonna go from right here, too. Right here. So I hold down shift. Do that. And I would just go ahead and drive these again into this section right here again. Make sure it continuous zones of selected wherever you know, this note start is that's where the samples are gonna continue. So what I can do is say, OK, I'm in the zero section. And if this is the last note, which is a G If I started on G uh, sharp here, then basically, um, that's where all my kicks would start so I can get go down to G sharp, bam. And then out all my kicks are going to start right here and go all the way up. All 20 samples of those kicks, Some push. Okay? And now we have kicks. So see, this is your e eight awaits. Now we have kicks. Got in a variety of different drum sounds here. And basically, what you're gonna do is continue this process of building your your drum kit. Okay, Um, let's say some going from collapse, I'm going to take about 20 collapse or whatever. Click right here and then click arm hold down shift. And we're gonna just drag these bad boys in there. Same process here. Now we're in the sea to area. So now what I would do is OK, this is E. This is where the last kick is. So we're gonna put it on C to R F two. Okay, that's where we started off. Boom. Now we got collapse, So as you can see, basically we're building this drum kit, right? Keep on going to the process of this, Um, until you have everything that you want in here. Okay? You need some snares as well, man. You know, you can't have a good beat without snares. A lot of times briefs with snares in same process here. This is going on f right here, But you can see for you, so I'm pushed at four. That's the quickest way to do it. Bone. So now. I got snares. Um, and you could pretty much let you know, put whatever you want to hear. You know, I'm saying it doesn't have to be one thing over the other. You know? Say I could just put maybe a few hi hats and say, if you wanted to sample, like, basically audition the high hat since or whatever instrument first you come over here and your, um wherever you have it right here, you're find a window, and you just select this, This right here, this option, and you can go to your drum kits. Let's see here, wherever they are. What did I have that Gianni Giuliano joint I phone? I was on high hats. And if you click there, you can actually audition it before you drag it in and see what you want. All right, so that's a pretty solid win. So, yeah, you could do it like that to someone. So I'm a highlight. These from right here to maybe, like, say, I don't need a whole lot of high hats just to give, gives me some high hat sounds. Drag that over. Bam. So now this one is starting at C sharp but we're in the 6th 6th Region. So I say See, uh c Sharp. And that's the number sign. And in six. Now, when I click this, you could see something was wrong here. So what I could do is I don't ever want a sample. I could just highlight it and push the lead. And those samples are now gone. And I could go down here. And as you can see, you don't see high hat in here, but you get the picture here. Let's say that we put everything we had we wanted here. So let's just say we have collapsed and snares and kicks in this drum kit. Now, in order to save this drum kit without them, do is go to instrument, go to save ass, Okay? And you're gonna give it a name. So I'm gonna say, um Johnny Jew Lee, I know. Ah. Kicks collapse and snares. You can get it, give it, give it whatever name you want, but I'm just gonna put that in there, and then I put safe. Now, whenever you want to pull up this drum kit and get these, get access to this stuff you can. So let's go over how to get access to it. So what do you do is say, say, if you're starting from scratch, You know, I'm saying you got a new session right here. All you do is go down to the instruments and pushed open, and you will find your drum kits right here. Okay. Now, from time to time, sometimes, you you you wouldn't be able to find it. All right, For whatever reason, if you ever have a issue like that, are you going to do is click search and push E. X s reading while you're doing that is because you're gonna have a foul extension e excess . Now, another way you can always find these is if you go right here to your device and go to users depending on where everything is located. But this is where is looking at my computer, I click on that my name, and then I go to music. Uh, I go to audio music, APS and and go to sampler instruments and the you have find all your sampling instruments. I wouldn't recommend moving these anywhere else. Keep everything in the same photo. Um, anyway, so, like safe, We want to open up that kid This click on the kit that you have here and and now all of those samples are already ready to go, so it's kind of a long, longer election and probably what I want it. But it's a thorough lesson lecture, lecture, and I wanted to make sure you knew how to do this or have the option to do that if you need to know where to get professional drum sounds, pretty much a lot of producers are creating their own drum kits and things like that nowadays and also added bonus in this course. I also going to include a link to a drum kit that I created that you can use for free of charge. OK, just follow the link and you can get download those drum sounds. If you have issues, let me know if you have questions. Let me know. Thanks for watching 6. Replacing stock drum sounds (part 1): be making basis. Alright, guys. So in this lecture, what we're gonna be doing is going over replacing these stock drum sounds, OK? And making the beats Fillmore full again. It's going to really help the mix. So let's start off with the drums here. Um, with the kick, I mean, so what I'm gonna do is I'm to go ahead and play it just kind of so we could get another. I again get an idea of this. I'm playing it real low, but and it just really all over the place with those stocks. Sounds, man, I mean literally is this kind of prime kind of sucks. It takes away from the actual because of beat. Sounds good, but let's go ahead and do it like this. So what I'm gonna do is I'm gonna listen to the drums right here, and I'm gonna take this pattern I already created. And I'm gonna move it up to this drum kit that we just created a swell. So I'm gonna basically copying pace now, a quick way to do it in logic was be the hold down option and then click on the track that you want to copy and paste into drag it up. Okay, you vice versa. You can also do it like if you wanted to copy and paste this and put, you know, move this over here. This is another quick trick. You hold down option, and then you click and drag. And now you have a, you know, copied version of that. But any way you want to Ah, go ahead and get Thea kick pattern copied over here. Okay. And, um, ideally, to be honest with you, you want to probably go ahead and do the whole song, so you'll have to keep go over here and keep on. Uh, you know, I'm saying, coming in here, each doing each individual part, changing each individual part. So you do the whole song, right? Right here. Anyway, let's go ahead and listen to this, um, and find some drum sounds to me like, though. Okay, so that, um, what I did is post P to get to the piano row, and what I'll do is I'm gonna come over here on the keyboard and find the drum sounded like And a cool thing is, what we could do is also is get some of the main melody instruments going in here while you're doing that. So you kind of have a feel how this kicks it sound. That's nice. And what you're looking for, something is gonna jump through the mix. So I'm gonna go over this on this D right here. So what I would do is I would click here on actual track, then come to the project window, Um, or to this window right here. And you could see everything is selected. Okay, So what I would do? I want everything to be selected within the MIDI or within agreed. So I'm gonna click on the notes that had that that these air played on. And then if I go all the way over here, you'll see that these are selected as well over here, Those many noses selected as well, etcetera, etcetera. And I knew that. I want to bring it to this d right here. This letter d is on the keyboard. So what I'm gonna do is I'm going to drag it up, and voila. Now let's listen to it. That's compared to this one, okay? And the trick to this is just you got to keep on playing with until you find a drum sound that thumps tryto. And as you can see here, if you don't highlight it the right way, you have a situation like this. And that's why I can get complicated. Um, in any case, it might actually be better if you just go ahead and this work with one section, and you could just kinda, you know, re map out the drums on here. Um, just to save time, okay. And what you can also do is double it. Let's listen to a compared to deuce. I mean, it just comes in a lot harder. I mean, honestly, it just does. And so what I would what I would go ahead and do is I would go ahead and this quickly re mapped out this beat. I'm just gonna, you know, highlight it are selected right here. Copy you by doing command. See? And then I'm going to push command V. You see, when it's played headed right here, you know, you could pretty much there's extended out without having a sit there in manually drag everything. Okay, any and I would just come over here and push command t to split this region click on it and delete it. And this could be a slightly time consuming, but it literally will be worth it in the end. Long term. You know, I'm saying because you're beast is going to sound a whole drastically different. Like better Let's say like that when you go through and really analyze. Okay, What is the best drum sound for this for this track that's a part of being a producer is you know, you understand how to put sounds together and, um is really gonna help with the mix again. You know, I'm saying that's the whole point point It is. So I will continue to do this with the kick. We'll work on the snare next, and you know, just every element of the beat. And I'm gonna tell you exactly why I'm choosing are selecting certain instruments or no other sounds compared to the ones that were using. And again, I'm sorry that this is kind of, you know, a time consuming thing. But this is the rial life. How this will work. You know, I'm saying sometimes you see things online, and it's a lot of edits. You You think it's gonna be super simple. You push one button and then all the sudden everything is done. And that's not necessarily you know what it is. You know you want course want, keep things simple. But at the same time, you want to replace these. You know, make sure you have the proper situation going in here, which tracks. So let's check it out. You see how weak that snare sounds you get him saying is those type of things that I had the layer to snare three times just to get it to sound slightly good using the stock drum sounds? And it's still weak. So is that as how important it is? Because, like, okay, if I was just to give an example if I was to come here and try to mix this near these original snares is weak as they are. I have to add all types compression, all types of e queuing. It's been, you know, really probably our on just just this one instrument ah, or group of estimates when you know you should be using instruments that are already pretty , pretty, pretty much ready to go. So that's the important investing into your sounds and everything like that. I mean, the next lecture. We're gonna continue on building this. I'm gonna do the snare. The reason I want to go ahead, explain again. Why selected this kick? And also what I did here is I doubled this. But I selected this kick because I felt like it. It has enough punch or knock without having to add any compression to it. It also has enough like it's e que properly meaning I could still hear a little bit of agreed to it are highs to it. So where it kind of cuts to the mix, but is you know, but it's not so high where it doesn't have any low in you get one saying so listen to it, you give us. And so these these these just this kick without having added any compressing or anything, is already dumping. And that's what you want when you're mixing your beats. So let's check out the next lecture. Thanks so much watching. I'm gonna check in the next lecture in peace 7. Replacing stock drum sounds (part 2): be making basis. Okay, so we're back again, and we're going to t you with replacing the drum sounds. I wanted to just to be kind of a live tutorial in this section of the course because it's very important to just give you the exact reason why I'm selecting certain instruments compared to this telling you to switch the instruments because I told you had to switch to instruments. You still might pick the wrong instruments. And so you have to understand what? When it comes to frequencies, why I'm selecting these different instruments. Okay, well, this instrument works better because it has a certain level highs that cut through the mix or certain mental lows that really give you that off That you need. So those are the type of things that I'm gonna be talking about in this particular lecture . We're gonna go ahead and move on to the snare. Now, again, we're doing the same thing. Um, you know, saying that we did before I'm going to take a section right here. I'm gonna take the same kit. I just doubled it by fishing command D. After I selected on it, you could also, you know, Ah, doubly by pushing this button right here, but I'm a move this down now to the snare. All right, Now listen again. Listen to the snare so weak there's industry. Look is already compressed. That's the hardest. A horrible thing about it. So it's already compressed. So if I add more compressions on this, it was suck. So what I'm gonna do instead is I'm going to take the pattern and change the drum sound. Now, the first thing I'm noticing here is that the velocity is very low on this, so that place would give part on it. I'm gonna bring that up right here. So all you have to do to do this is click right there on this mini draw button and you bring all these notes up. And, of course, the quickest way to do it was just the highlight. Everything and or hot it right there and then bring it up like that. Okay. Now, as you can see, it's clicking on the drums. But if you remember let earlier in the course we created this. We created a kit that had drums collapse all types of stuff. So we just got to find the collapse or the snare that we like. Um, and what I'm gonna do is I'm just gonna go up the keyboard. That's actually pretty nice. I'm gonna go with this. F is in the fourth region. I'm click here and then I'm gonna bring it up. Okay, so now let's check out the beat. Now, All right? Now, you first off automatically the reason why I selected that snare. It kind of had a Ah, good. Good enough highs and a balance between highs and lows that I liked. Um, for instance, you see, did you hear the highs on that? Compared to this is to is to is to light. And this one is too compressed for this particular beat. So this one hits hard, and it also has enough high. So it cuts to the mix, and it also have enough low. So it's like off to it. So that's that's kind of what I'm looking for. Now I'm gonna show you a quick trick here, cause I mean, it could be tedious to come over here and continue. Have toe, you know, re map out the snare the quick. It's trick trick to this is the first thing I'm actually you know what? Let's before we do that less layer this near. Too much going on. All right, so we layer destiny. I just wanted to give it is a little bit more off. I felt like that kind of has a little bit more off in the highs aspect of things. This kind of has a little more off in the mid range. Yes, or actually, kind of this one has a little mid range, and this one has the highest. But anyway, those together to kind of give more of a fool sound, and you can actually hear a new immediate improvement in the mix just by changing out the snare. So the trick I was going to show you, though, was since that most of the music is pretty much looped, you know, you have, like, the reverse your chorus and all that type of stuff in that kind of loops instead of having to go through this song and and continue to like, uh, you know, Lupin, Lupul, Lupul, Lupul. Loop it. You know, I'm saying is stayed a better way to do this would be to, you know, basically dis create one section and kind of like, keep on. Ah, looping that section. I'm assure you, I'm talking about. So we had is right here. Cut this down, Had it right here. Cut that down. And so now we have this section right here. And if you notice right here, this this snare section is kind of the same as this one. Vice versa. So what I would do is I could, like, highlight this And in this drag this right here, okay? And then I can even do it a step further. I could highlight this whole thing. Zoom in are Yeah, zoom out. And then I could drag that like this. I'm doing this to show you this is a quick ways. Like work flows. I'm teaching workflow and different, you know, different concepts all at the same time to speed up the process. But see, now you Now you can see that this this snare and his kick artists world of different, you know, like it. This sounds completely different. And better to the point now, like you wouldn't even recognize to be someone. Look, check this out. I'm gonna play the old kick and snare pattern and then I played a new one, So check this out. This is the old one. How am I gonna mix that? I mean, you know how hard is going to be compared to this world? Difference? I'm not gonna have to do a whole lot more so going to just have to mess with the levels as you'll see later in the course. But anyway, that's this lecture. I'm gonna move on to the high hats and everything else or the percussion aspect of things in the next lecture. Thanks so much for watching, um, see. 8. Replacing stock drum sounds (part 3): be making basis. Alright, guys. So basically what we're gonna be doing, we continue on replacing the stock drum sounds. What we've been doing is going through, you know, we started with the kicking in the snare. Now let's look at some of the percussion elements, okay of this track. Now I'm gonna play it, and I'm gonna show you some things that some of this some of these instruments are for just fine. Some need to be replaced. I'm a player real quick, so I'll tell you the instruments that are just fine now, first of all, this Ah, this effect sounded 1/2 years. It was created using some type of drums within the program. That sounds fine. You know, saying this is not necessarily a main sound is something that kind of discomfort. Leet, sir, adds to the beat. Okay, but if you listen to this symbol, it's a little bit dry is, you know, saying a little dry. So what I would want to do is come to my drum kit. So I have some other drum kits that I've created using the E X s 24 sampler. You would create a new track. Um you go over here and select a sampler. All right. Matter of fact, I want to put this in. Ah, in stereo. Okay. And so what I would do is click on here and go ahead and pull up this Our sample. You should know that from our how to do this from our previous lectures. But, um, let's see here. Ah, and my samplers are located here. I'm gonna go with this kid right here. Can I know for a fact this kit that I create it has some awesome awesome, like crashes, Cymbal sound, and literally, it is gonna sound way better. So there's two different symbols. Um, what I need to do, of course, is fine. This is the sound doubt the work best sounds a little better right now. The cool thing is, you can always layer this. So what I'm gonna do, highlight it like that. Hold on. Option. I'm gonna drag this up. Now let's check it out. Okay. So that's that's how it sounded before. And this is this is how sounds after. But this is how it sounded before. This is how to crash. Sounded before. Listen to this. I mean, you know is okay, but this sounds a whole lot better, right? And I'm just gonna actually change it up to just have once symbol. I don't want too much going on into the beat, but you know, honestly, do just just sound a whole lot better, right? So in the reason why the sound better that this assembles the sounds a lot more fuller. The other one sounded like there's like, too much highs and all the lows. We're going out of it, right? And you want to have something that kind of feel. We were playing the music, you know, I'm saying and plus the Cymbals together they go well with the kick and stare that we have here. I layer this and I have, like a 11 symbols. It kind of the more traditional symbol. But then this one is kind of like more of an analog symbol that has a little bit more high . So together, you know, you have some of the highs right here that you have some of the like low in our mid range frequencies going with this other assemble. And together they sound full 9. Replacing Instruments: be making basis. All right, so basically, what we've been doing is switching out drum sounds. Now, we're going to talk a little bit about switching out to actual Sounds like your instrument sounds and stuff like that. Now, of course, everything is based on, you know, one way or another whether or whether we actually works or not. Okay, so you might not even have to switch out your base that you're you're sounds here. But let's just check out and see what would happen if we did, cause it might make the beat sound better. Um, let's listen to what we have so far, and then we'll go from there. What you want to do is come through here and push the plus sign to create a new track, create a new software instrument track, okay, And in which you would do is click on the track that you want to switch out the instrument with, and then you're gonna basically hold on option and drag it down. So now I have a copy of everything. Okay. And then what I could do here is I could go. This was a bass sound. So let me go here. to synthesizer. Let's look at some Maybe Edie Mbaye Sale. All right, So basically, you want to spend the time to kind of look, analyze your music and see, You know, if there's a sound, it doesn't sound as as solid as it should. You know, for instance, a with this bass instrument. What we did with that sounds cool. Where Sounds cool. But it needed some low in to give more off into the music might consider adding something else under it. I mean, a complete noticeable difference, right, I would say is a very noticeable difference. So what you want to do is go through the song and analyze it, Man, it is. This is gonna help your mix overall. Honestly, Because I without that sound in order to make this sound, uh, you know, really stand out like it needs to. There's so much I would have to do. Like, I would have to come in here, maybe give some type of e que and boost some of the lows frequencies, which that could be cool. But then those low frequencies that you're boosting can interfere with other, um, you know, frequencies in the music or in the mix. So that's the main thing is it's all about balance. If you could do, do some of those that mixing stuff in the actual production where your production is going to be, you know, saying on point, Um, then you know, I'm saying it'll save you a step going forward. So instead of doing all that you had, the slowing sound is already mixed, already ready to go and it sounds more professional. So if you have questions, let me know. Thanks for watching piece. 10. Cleaning Up The Track: be making basis. All right, so now that you switched out some of the instruments that you felt that needed to, you know, to be switched out in some of the drum sounds, the next thing to do is to clean up the track that you have now, you know, I'm saying and that's just the process I'm going to. And a lot of times, what you'll find is honestly, you don't even need a lot of these old sounds on old stuff. Keep what you, you know, saying what you actually like. So the first thing I would do is I would come over here to foul and create, save as and save it as a new project, just in case you needed to go back to those old loops for whatever reason, the old sounds or whatever. So I just put the name of the tracking and put the number two and I'm gonna save it like that. Boom. I know that this is now the new one, and I can easily and, ah, you know, confidently destroy or delete all these other tracks that I don't need, For instance, all these drums that that I'm not gonna be using the old drum sounds. I could get rid of that cause I have these. Okay. Boom. Just pushed this highlighted everything and click clicked on. The lead is that's that's all. I did this sound. This is open track that I'm not gonna be using. Done. You know, I'm saying this right here is a cool track, but do I really need to add more to this base out? No. You know, keep things simple. Um, like this little pad. I'm not gonna keep that. Okay, We could listen to these bales and make sure, OK? Do I really want these bales here? So what I'll do is I'll just highlight everything and, um, figure out which what I really want to keep in West works and what really doesn't. Okay. And one of the ways you could do that, it's just do ah, you know, selling out everything here. I thought this is a strong sound right here. I'm gonna definitely keep that. Let's see if this will go with it to Theo. All right. So I think I'm gonna go ahead and keep everything else that I have here, but that's that's the main thing out um is this to clean up everything? So I just wanted to share that with you in this particular lecture. The next lecture, we kind of go over some or on what you need to do to basically helped bake better mixes in the preproduction production phase of things. 11. Exporting Your Session as Audio Files: be making basis. All right, So the next thing we want to make sure that you do is, um, export all your fouls is Aziz audio fouls. Okay, So in order to do that, you want to make sure that first off everything is named properly, So you name everything properly here is very simple. Just click, double click, and you can type it in. Okay. After you do that, you want to make sure that everything correlates over here. So meaning that, for instance, how you could see this base right here. You see how this says basin? If you want this to say the same thing as you see over here. So the order to do that ah quick way would be to select all. So you click right here in the open space and the push command a and then you can right click on one of the regions and in scroll down to name reasons by track. And you see how quickly that that switched everything off. So I'm a push command Zito undo and I'm gonna show you a quicker way to do this. Is that having a right click and everything like that? You can push option shift in the letter in, and it does the same thing. Okay, so that's that's the first step to this. Okay, the next thing you want to do is, um, brain and probably headed to begin to the beginning and then go foul and then goes to export. And when you get exports, you go all tracks as audio fouls. All right? I would create a folder. You can name it. Whatever I'm gonna say. Justice. Ah, premix track out, all right. And you want to make sure that you bounce these down as wave fouls. Okay, 24 bit. Now, you can also use a f f fouls, but, you know, just use way fouls. I mean, it's the same thing. Really. Way 1000 ai ff thousands. Same thing. A I f f fouls are, you know, lied Apples, computers, version of away, foul. Whatever. They're saying the same thing, but just do away foul bounced that down. Make sure none of these things that are hit here. Um, And in this post save now, while this is bouncing down, what I'm gonna do is I'm gonna explain why we need to export your thousands. Audio fouls instead of just going head and mixing everything as it is right here. Okay, that, um the reason why you want to do that is because it's gonna free up more processing power on your computer to analyze, you know, your tracks. Okay. And what I mean by that is when you have these these different many fouls that have all these different plug ins and things like that, it's harder for your computer to process the data. OK, but when you have it in a tangible form is that such as audio foul. All of the data is compacted and compressed within that particular foul. And it makes it easier for your computer in your program to, you know, work with that particular foul. So that's why you want to do that. That's the kind of more technical aspect of things, but for the most part, this. Make sure you do that. Okay. All right. So we're back and everything is exported. You can kind of make sure here, I'm gonna go to find her, and I'm gonna go to my desktop and we'll find where we have. Okay, The justice mixed. Pre. OK, so as you can see here we have all of our different wave fouls, and it's important to have that dare, um, in the next lecture, we're gonna be going over one last step before in the pre production phase of things, and we'll go from there. 12. Creating a new session for the official mix in Logic Pro X: be making basis. All right. So for this next lecture, I wanted to make this more of an interactive lecture because going forward in the course, pretty much we're gonna be doing things together, meaning that you're gonna be working with the actual audio fouls that I'm working with. You're gonna be mixing the track as I'm mixing it. Okay, So make sure if you haven't already go ahead and go to the document that's in this particular last lecture or in this section and down, click on the link, download the 1000 there, and you're gonna find a photo called Justice Premix track out. Okay, I want you to go ahead and go to logic, create a new, um, session. And, you know, you can get the audio track right here. And what we're gonna do is we're gonna import those fouls into logic. Okay? And I was simple to do that. You could, of course, do it do foul into import. But it's easier to go over here to find her. Go to your desktop, click on justice, pre mace, track out, highlight everything, and dragon drop it into the into the session. Now, when you do this you're gonna go ahead and click right here. It says use existing tracks. Also quit the tempo in there. He was import the markers. Everything's gonna pop up. They may take longer to do. Do it like this. Either way, that's what you would do. Delete that other audio track. And then the next thing you're gonna want to do is organize. This reorganized the session. All you're doing is moving the drums to the top. Then you're gonna go to the base instruments that you're going to do the melody. So I'm gonna do that real quick, which you want to find the kick drum and the snare that you want to do your percussion instruments or your high hats and stuff like that. Um, let's see here. Risers Wonder sounds here. Crash. Hi. Hat. You know, some type of a fact here, um, be at your base instruments. Put the sub right there with these leads next and in my synths, and then we have our bales. Now, if you look over here for some reason, logic, um, has some type of weird naming system type of thing going on here. What you're gonna want to do is rename all these tracks. So just go ahead and click off of that. And in a quick, quick trick, a trick to basically name everything quickly. Is this pushed? The tab button is gonna go right down to the next one and then go to your aero button. You're right. Arrow button on your keyboard. Click that and a you can just delete go to the process and knocking that out. All right, so you got to do the same thing in here. Of course, it would be tedious if you went to each individual one and named it like this. So what you do is, of course, select all and in, um, the hot key to do this would be pushing down option shift in the letter in. Now everything is organized in name. Okay, so after you do this, what I want you to do is go over here to this mixed button or mixture button click on that . And what we're gonna do is we're going to group these tracks together. All right? I'm gonna group the drums, the base instruments and in the melody. How you do that is you just basically go to the drums and you highlight them. Go to output bus and go to bus. All right, you go the bus one once that selected Name it drums. Do the same thing with base. Go to the next available bus, which would be bussed to it's a base. And And go to your melodies. Instruments, Bust three. I am Melody now, my ass. Why are we doing that? Several reasons. Um, again First, the first reason is for processing power wise, right? Instead of on somebody's instrument, you have the pit, maybe a compressor or, you know, different things. Instead of putting it on each individual track, we could say some CPU power and put it on the actual on this actual one track with his but this auxiliary track, and it's gonna save up some some of your CPU power. Another reason why it's workflow wise. So say you were already mixed everything or got the levels right. Instead of having like if you want to turn it drums up instead of having to go with the each individual track and do that, I could just come to this bus and turn the bus up and stay it. Okay, so once we do that. You pretty much have a tracked us ready to go. Now, this is there's one extra thing that I want you to do. Go to the kick drum, and I want you to go to, um where says sins and go to bus and create one right there. Actually, we're gonna do this a different way. So now what I want you to do is trade. Um, we're create three more auxiliary tracks, okay? And he's TheStreet auxiliary tracks are going to be there to add effects to your mix. So what you're gonna do is go to options and then create a ah, new auxiliary channel stripped. Okay, so we have that one. That's one to and three. All right. Now what we're gonna do is we're gonna name this 1st 1 reverb, one name this 2nd 1 reverb to and we're gonna name this 3rd 1 pc. All right? And I'm a name. That PC stands for parallel compression later on in the course would be covering that. Okay. All right. So the last thing you want to do when it comes to your sins this what they used to be called because we're going to sin these? Ah, like a reverb, um, to, like a particular track. For instance. Like, say, if I wanted to ask some reverb to a snare instead of having to put it right here in your audio effects away that, you know, free up your processing power in your computer or your program is the sin a signal to that ? And so I would come over here and select it. As you can see, I don't have any of those tracks right here. The river PC. All that's up stuff. So what I would do to put that there is I will go over here and select it and put it on a bus available bus. So, you know, the 1st 3 buses air taken, So I put it on bus four. They want to drink Ford. And I put this one on five, this one on six, and now you can see all the buses so that now, if I go to the sins, I got a bus. I can Oh, I see it now, OK, we verb wind river, too, you know, pc or whatever What we're going to be doing in the course of we're gonna be adding different effects to these different auxiliary tracks. Those like, for instance, Mitt might put a reverb on this track and in another type of reverb right here, Compression right here. Different things weaken due to basically free it up. All right, amount of fat. Um, we'll go ahead and do one other technique to, so we're going to create a one more auxiliary track as well. And I'm a push Name this one SC for side chain, because I want to make sure you know, you guys learn ah, lot of different techniques here, So this will go on bus seven. Okay, so make sure that you do. Oops. Yeah. Make sure you do this before for going to the next section, because it's really gonna help as far as, um, you know, mixing your coat, mixing your beat because we're going to mix in the beat together again. That's what this whole process is. Four we're gonna be mixing to beat together. Whatever. So, yeah, thank you so much for watching. Let's get it