MIX VOCALS IN ABLETON LIVE: Learn How To Mix Your Own Hip-Hop Vocals | Kia Orion | Skillshare

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MIX VOCALS IN ABLETON LIVE: Learn How To Mix Your Own Hip-Hop Vocals

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 (40m)
    • 1. Course Intro

    • 2. Setting Up Your Project

    • 3. EQing The Vocal

    • 4. Effects & Reference Tracks

    • 5. Automation

    • 6. Mastering & Final Thoughts

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About This Class

Want to learn how to mix your own vocals?

In this course I'll teach you the exact process I use when I mix vocals. 


How to scan for frequencies and EQ your own vocals

How to use a reference track to keep yourself honest

How to design reverb, filter, and delay for vocals

The exact vocal chain I use (and an easily downloadable version)

How to master your vocals after they’re mixed

How to mix to a 2-track so you can sound wavy even if you don’t have the full stems to the beat

How to make better decisions in terms plug-ins and EFX


Ever wonder 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 beginners guide to mixing rap 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 engineers who are starting out and want to hone their craft, producers looking to expand their skill set, and artists who want to elevate their mixes. 

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

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. 

So go get the stems, follow along, and let’s mix some vocals!

Meet Your Teacher

Teacher Profile Image

Kia Orion

Artist & Music Producer


Ay! I'm Kia. 

I'm an artist and educator who believes life wouldn't be the same without music.

Or tacos.

I realized that I was equally as passionate about teaching music as I was making it.

In 2016 I founded Beat School, an online platform and series of educational programs to help aspiring artists and producers learn how to make beats, accelerate their growth, and stay inspired. 

I'm originally from New York but these days you'll find me traveling around the world writing songs or playing beats on a rooftop somewhere.

I appreciate you stopping by, and if you'd like to get in touch you can DM me or shoot me an email at kia@kiaorion.com. 

Life is too short not to do what you lov... See full profile

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1. Course Intro: 1 to 1 to come in through. What's up, y'all? It's your boy, Keogh. Ryan. I'm the man who is obsessed with making dope music and teaching you how to create your own . In this course tutorial. Walk through lesson masterclass, whatever you wanna call it. We're gonna be talking about the exact vocal plug ins and vocal affects racks changed the I use when I make my vocals. I also want to make it clear before we jump into this that I am an artist in a producer by trade. I am not an engineer. Um, by training this is something that I mean, I've learned all of those how to write how to record rap makes All of this is just from learned from practicing, doing, making tons of songs. But this is the area that I am working the most on improving because it's honestly to me, this is the hardest part. That being said, I want to preface by saying there's no correct way, right way to mix anything but this because a lot of asked me This is the way that I approached mixing my vocals. And this is a work in progress subject to change, but at this moment, he's all the things I want to walk you through. Step by step exactly how I mix my vocals. Now, in this tutorial, most gonna have some project files for you so that you can download those and follow along Plug goes into your DOS. That way you'll have a vocal track to mix. If you want to follow along with me, try some of these things. I also want to say that all of the different things that I'll be using in this um, not all of the plug ins like third party plug ins. Um, obviously, I can't give you those, but any vocal effects chains, racks, things of that nature I'll have for you at my website. Keogh Ryan dot com slash Resource is or producer downloads dot com. That's pretty much my vault of all of my able tin sample packs. Goodies for you, all the access and I'm constant, creating the material for able to. In some way you can level up your game faster. So that being said, download those your right to follow along. Drive those in your daughter have any questions? Hit me up, get those in the project file and let's rock and roll when I walk you through. A few different tracks have been working on in the exact kind of process that I go through . When it makes my vocals, Let's jump into it. 2. Setting Up Your Project: All right, Charles, here's some good news and some bad news, which you want first. Um, good news is I'm still gonna walk through this tutorial with you. The bad news is my computer is very old, so she has a hard time processing plug ins while I'm doing walk throughs. So that being said, I might not be able to do a ton of, actually, like playing the vocals back while we're working on it. Which my son counter to have like this What I'm talking about. She has kind of a hard time, but I'm not gonna let that discourage us from me. Teaching knew the exact process that I use when I make my vocals. So the first things first, this is kind of how I take it. I hop into a project and when exporting the beat, um, I also have this vocal chain sort of this vocal template that I bring in. So that way, everything's already set up for me. Um, every single time, which makes it really easy for me to record tracks and release them quickly. Right now, I'm working on a song a day challenge, so I don't have time to necessarily make all these every single day and come in and add these different effects every single day, suspecting on a plug and play. Now, this is something I'm working on is creating a template, this vocal template that I can give you guys let me know. Actually, let me know if that's something that you want, but I think it could be cool. I'll walk you through this. But one thing I'll definitely make for you and all expect for you is this vocal template, which is a, um, it's a audio effect rack that I made that I can't even take credit for. I watched a YouTube tutorial of a guy that made this vocal effect track that I loved. His name's read. Stefanie does amazing tutorials. Check it out so that it's part of my vocal effect chain. Um, but I've kind of made my own. I took his ideas and tweaked it, and that will be available at producer downloads dot com for if you want to download this template that I'm gonna walk you through. But first things first, I bring in the beat, make sure that's the right BPM, and I also then make sure that my I don't need that don't need that, that nothing is mastered. So that way, my limiters off that way it's just a beat and my vocals. So the first thing that I do is let's see if let's see if she can play just to beat school . I think that that works so pretty much. What you can see is the beat. I have it coming around 6.5 and then what I do is I'll then want to bring the vocals in, Um, this Before I do any riel crazy mixing or mastering anything, I like to have the beat coming in around like 6.57 somewhere in there and wherever my vocals, um is I want to solo that. So, as you can tell, these air kind of chopped up and and pieced pieced up right here. So when I record this again, this is this would be different tutorial. How to record. It depends on how you like to roll for me. I like to take about three or four. You know, they come one take Drake. I think about 34 maybe five takes, if needed. The first ones just me to kind of get a feel for what the track is like. Do you kind of get used to recording my voice and then listen to a back? But I think about 45 tracks takes I don't like to take too many or punch in too much. As you can tell the most. These ey're pretty much I take someone take through and then I'll comp the vocals, which I'll talk to you about a second. Meaning you take pieces here and there. Um, because I find sometimes those first takes are sometimes my best, Usually around my third take our fourth take. That's really when Alex, I need to kind of listening back myself. Okay, key like you messed up on this part. Or maybe the cadence isn't right here because when I'm writing the song, I don't always I'm not always projecting like I am into a microphone, so sometimes I'll need more spaces for brass or things like that. Nature and I don't like tryingto rapper sings so fast that, like I have to like, feel like I'm out of breath because I like to perform these and keep in mind is if I was doing these for a real performance, meaning when you're hopping around on stage, you need that breath control. It's really hard if you're running out of breath. So I like to pretend that accident and pretend I just create these my vocals for songs for real songs and keep it with while keeping the performance in mind. So that's one thing that I dio is. I'll do these takes straight through pretty much. If there's one part, maybe I'll punch in. But I'll take these takes and I won't comp the vocals of First. I'll find maybe one. Maybe I just find the verse typically. So what I do is either the verse of the hook. I'll start with one of the other. And so for this part, let's take this this singing verse. So with the singing verse, I would. But let's say that the vocals weren't already chopped out like this. Um, I would take the whole vocal like this, something like this from this take, and I would copy it, Boom! And then I would piece the down here and I would just loop this part so I would just loop here for this singing verse and um the first thing that you're gonna want to do is clean up your vocals, so that is like, e que things of that nature. One thing that I use a plug in that I used to kind of help me just off the bat with this is this. It's called Nectar three. So what I'll do is I'll take just right when I'm starting. I'll take that first verse when I want to clean things up and I'll add nectar three to it, Meaning this is a plug in. I won't run it because my computer, probably of our time handling it. I think I got this to splice. I rented the spice things like five or $6 a month. That's super cheap. This is not the end. All be all, but I like. This is kind of a rough e Q D s or kind of some different things going on with the vocals. Um, did I find kind of help me figure it out? So I'll just run. I'll run some quick nectar three on it, and then once I have the kind of vocal here with some nectar three. Um, then I work on E queuing. So it's the first thing I do because before you want to add effects and stuff, you want to make sure that you e que the vocal So it depends. Um, what you use nectar 34 I use it just for kind of like some light be queuing. It's a I so it's not always the best. But before you add a bunch of these other effects and stuff to it, like compression, etcetera, etcetera, um, before even had this vocal before add, like any of these cool effects that walk you through I e que. At first. So that's we're gonna jump into next. I want to talk to you about Roe. Quick, about kind of the set up. How I said in my project before I've been jumping into the next part 3. EQing The Vocal: all right. She also has peep this. So for this verse again, I'm not sure I'm gonna see it. Maybe maybe if I'm really lucky and I can turn everything off, turn off the auto tune. Um, let me see if I could just get some of these vocals to play. I've been moving forward, looking past tense. I've been finding beauty in your absence. I've been looking back on that wasted time. Let's pretend I'm not horribly out of key there. Living in a room on some of it, you killer and black. Just seven drinks making money are access. You were blessed with the angles and the assets laying on on my finesse. Um, with the accent. Whoa. Okay, So, um, here when it comes to the e que. As you can tell, I have a bunch of different things going. Let's turn this off and let's start with just a new accuse. You going to see how I got here? The first thing that you're gonna want to do is I'm gonna bring this Thank you over here because of the sequence of your vocal of your chain matters. Because it affects the way the thing the plug ins operates well, except make you pretty close. Appeared to beginning active mountain first, maybe a little from the nectar three and then another. E que Here which one do is you wanna? It's called, um, it's gonna be queuing is mostly for me When I think of a queuing, I remember a long time ago when I was first learning, vocal mixing and listen, you know, I'm still in the vehicle. Makes it is a work in progress. I want to make that clear. I'm forever student, constantly learning. But I just wonder what to do my process. Um, I realized that it's it's it's, um, gems dropped on me where it's a subtract of process for me often more than an additive process. And I'm gonna be adding things to e que. Meaning bumping frequencies up. It's probably very minimal, if any, most of time. For me, the beauty of good production, good vocal, mixing honestly, good song Ready in general is making its subtracted. It's not about what new things can I add to this, but how can I strip this away so that I'm only left with what I really need and what's powerful so when it comes vocals. I record on a terrible mike right now because I'm on my on that digital nomad life. So I'm currently quarantined in Mexico and because I like to just like to travel anyways and I run this business remotely. Um, I'm always think about what is my what? So I set up that I can use that I don't need a bunch of fancy stuff. I also think we use that often is a crutch for it as an excuse. You need this nice Mike. You need a soundproof studio. I'm recording on the crazy bedrooms out of condos at Airbnb. He's all over the world with a terrible look at this thing. This is a micro recorder. It's a road into USB scratched to Smith The rains pieces missing It doesn't even a holder I hold the mic when I record these vocals I hold the mic so you don't let this be You want to have a good of recording as you can, But don't let that be an excuse not to create I'll get off my soapbox. So when it comes to eat queuing, let's see if we can do some of this you killer and ah ha. Nothing I want to mention is, um I have a separate chain down here, which I'll talk about later. Um, for just this. So pretty much just walking to my vocal change very quickly with the eq you. I have this group, which is my main group for vocals. And so this way I can run auto tune nectar. I can have this maniac you that we're about to do, which is this one here. And then this also vocal template that I have in any other plug ins that I want that why I can I can run one instance of the plug in meaning I only have to run nectar three once. I only have two e que These vocals once I only have two auditor in the vocals once And since they're all under this big umbrella of the vocals group Then if this a plot, these effects were gonna make applied. Oh, I don't have many on this track. Only have a hook. And this these singing versus actually have more a lot because I have, um, a little bridge and second birds. But for them, if you when you end up having a bunch of tracks are maybe different. Takes defending that nature goes a long way so you don't have toe take up all your computer CPU by running these every single time. So keep that in mind is right now I'm editing my main umbrella vocal tracks group the Excuse me queueing all the tracks at the same time. Um, until this is how I do it, you killer and black Jess. Seven drinks. So as you can tell this already, this vocal is, um, I shouldn't duplicate this. Just so we have this back up, Mr. Experimenting with you guys, Um not not recorded. Great. Like, there's a lot of this kind of like boxee your killer and black dress. Seven drinks make him, like, some kind of crappy reverb, and it's a little bit boxy, but you have a high voice. So you killer and black dress, um, often cut out a lot of the low end is gonna be I totally cut out some yellow killer and black Jess. Seven drinks making money access. And then you were blessed with this will be something that you don't always just want to rely on your visuals for like this. But here's one. Make sure we're not overheating. Cool. Okay, we're good. Um, you could you end up being able to just hear it, But this is a process where you're gonna be scanning for resonant frequencies. Meaning there are frequencies in here I can show you that are just really unappealing to here. So if you turn on this little headphones in a Bolton in the EQ, you wait. You can scan, and it'll just snagged that frequency. You want you. So that's one right there. It's like that does not sound popping your killer black dress, right? Nobody. That's the angle. There's this freezes. Can I continue to ring? The ringing is another way to think about it. Kind of ringing frequency. So turned that down. You want those to be pretty steep cuts and, um, down. It depends on how, How, how extreme? Long ago I wouldn't cut all the way out, but definitely cut it out some. Let's do it. Let's find another one. There's nothing as fun as skinny for frequencies. Your killer but black dress brings make money with angles. Lay it on, Jim. There's another one. You killer. But it's like that's that that comes from recording in your bedroom with the crab you make . That's that's HEPA kind about this kind of boxy frequencies. You killer and black Jess. Seven drinks making money. Our access. It looks like there's one here too. Um, I won't spend too much someone this, but you can get the drift. You killer and black who has a battery. That's what you're looking for, Not no. Bueno. So gonna cut that one out to, um, again or three? Pretty steep. So you go through that. And then sometimes if there's some things you want a boost in the high end, maybe you boost the high in just a little bit, depending on what you want again. This comes down to trial and error, mixing a lot of vocal tracks, watching a lot of tutorials or here in the right place. You're learning about this, but practice really makes perfect. And it comes to trust in your ear. I love I'm not gonna pull Spotify isn't anything to be incriminating. I want you to see me listening to do a Lupu do elite. But whatever name is, um, but I love Drake. And so Drake in 40. His engineer. I love the way that he mixes drinks vocals, so I'll find a track that I love and use that as a reference track. Um, and that's actually something going to show you here in the next tutorial or so in the next video when next video is adding effects is how to find, um the kind of odd that you're shooting for and having an idea in your head what you're looking for. But you're gonna want to go through e que e que these out a little bit. As you can tell, I did it a couple times here. Boost the little things. Another thing I did over here, because when I record, um, in these rooms, there's a lot of dislike buzzy high end that's not necessary. So what I'll actually do is this is the A Q. Actually made. I'll just take out. So this is no week. You, you killer and Black Jess. Seven drinks making money on access? No, thank you. You killer and black Jess. Seven drinks making money are access. You were black, so it sounds a little bit like I've taken a lot out of it and I have. But once you start adding a bunch of effects to inserts, because every new layer of effects and compression you add to your vocal any things that are in there that don't sound good, it elevates does as well. So for me again, it comes in a person preference. I wanna keep as much energy as I came from the performance, but also want to cut out as much of the crappy stuff as I can. So we the more effects that I add to the vocal, Um, the less kind of crap is in there and gets elevated because what it's you elevate everything. So if you leave it a bunch of crap in there, then it just becomes polished craft by the end. So that's the first step is e que your vocal and think of it as a sub tract of process more than anything under the next one 4. Effects & Reference Tracks: And then the next thing Welcome back. The next thing we want to do is once you've cleaned up the vocal, now we're going to compress the vocal. So this is when we start to mess around with the volume a little bit more before we get real fancy with it, Um, is only add some compression, so take out that little testy Q. So this is where also some The nectar can be helpful because the the I like the compression that nectar does. But again, it's a I so it doesn't do everything. This is where this vocal template comes in handy. So I'm gonna turn on my vocal template. And in this vocal template, there are a bunch of amenities. Turn these off for now. Vocoder. OK, so there's a bunch of effects all in this vocal temple. But for now, it's gonna wear about this compression. You killer and Black Jess. Seven drinks making money are accidents returning blessed with the angles in the assets. Lay it on my phone that somebody I don't think the next is gonna work. But trust me, there's some cool compression. So this is when you start to Mr the volume a little bit at some compression in these compressions. In his vocal template that I have for you, it's kind of the regular compressor and then the glue compressor. So these air to that I have set to specific settings that I prefer and then you condone. I'll these in or less than them, depending on what you want from these. By turning these up here instead of having to mess with the dry, wet nubs over here, this is almost like you're dry wet knob here by bringing it in and out. So we have a walk you through this, we have the compressing her compressor. We have a flame. Jer Flander, second in The Simpsons. Right filter, delay. Um, some course. Some overdrive if you want it. Ah, little bit of regular reverb. And then I really like this long Tell reverb that has some saturation and a phaser on it. Um, you'll see how dope this is. One to be trying here in a second, and then a little 1/8 delay in a little bit of one, um, half the way. So when when you at pretty much will do is I want to be honest. Once I plug it into the focal template, I don't go through these things one at a time because I'm talking. You was telling you honestly, if you're learning how to makes, you're gonna want to learn how to use compression things of that nature. I also have Ah, um, walk through on that. I really dive into that on how to mix block vocals and logic ride, dive, more decompression. I'm not gonna worry about that right now. I just want to talk to you about my process right now where I'm at with mixing vocals. So I'll plug this in and turn the zone, You killer and black. Just seven drinks making money are access. You were blessed with the angles in the assets laying on on my finesse. Um, with the accent. Who you killer and black. Just seven drinks making money are access. You were blessed with the angles in the asset laying on on my finesse. Um, with that accent, you killer and black just serving drinks, making money act. You can overdo these really easily, but, um, I do happen to love these. So this is once once up like these in this is where I want to talk to you about Ah, once you do your compression, do you compression first and then start to add your effects. I kind of doing both the same time at this point just because that's how I like to roll with this vocal template and it kind of keeps things going. So at this point during this vocal template and I'll turn on my nectar and I'll turn in my auto tune. So I kind of do my compression and then I'll start to add these effects. And so what I want to talk to you about before waas, Um, having a a point of reference. And I love these vocals by Drake in this song No Guides with Chris Brown. So I wonder what you do This kind of the difference thinking about the difference in how vocals are mixed. So listen to this. This part of the drape verse trips that you plan for the next only make soul cheeping and flexo de sexo. Dean, you got you got you pretty Look, you gotta begging you. You just get off the line. It's like it's like he's right there in your ears with you, but there's enough reverb that it still sounds like it's not like it takes up the space. Also, there's a little bit of delay. Just the slightest bit may not even notice it. But listen, it's pretty love. You gotta bang. And now you're You just took it off the line way finding, talking while you turn around and not a sign. And so do you hear that? It's a little bit of delay, just a little smallest bit, but it helps up the empty space. Waiting to be, um, look fine and talking, running out his side and 17. And so I love the way that Drake sounds in this song. Listen how different his vocal sound, then Chris Brown Teoh, Chris Brown sound. There's so much reverb to them, so much delayed, that they sound very distant, which is cool. I like that. Ah lot, um, in Tory lanes, I think, does that Tucson is It's like a lot of reverb, Chris Brown says. These really cool effects on them. But Chris Brown has all these different, um, runs in these harmonies and things that he's singing along with, so it's just it's just different, right? Like this even, really? So there's respond, and then drink comes back in for the second verse. Let's listen to these freaky Oh, you know what I mean. So you find a reference track finds you like I don't love those Chris Brown vocals. I really try to mix my vocal so they sound more like Drake. Um, in those types of tracks, I just I I don't love a lot of harmony's a lot of stacked vocal tracks like to have, like, very simple vocal tracks and what I want to jump into you. Pause What I want to jump in with you here in a second is using that delay in the same way that that track inspired me in this track. So these air still a far cry from sunny, anything like drink at that point? But, um, have you referenced track clean up, clean up your EQ You add some compression to them, and once you once you kind of have the way that the vocal sound effects wise. Now we're going to jump into a little bit more of, um, some of the more detailed elements of vocal mix 5. Automation: So once you have an idea of kind of things were kind of starting to take shape a little bit . You have how you're you want. You got your your vocal stunt. Kind of starting to shape up. Um, I'll tune them. So let's turn this auditing back on you. Killer and black. Just seven drinks making money are access. You were blessed with angles in asset. Lay it on a muffin system with accent, you killer and black gesture. So if you listen to the no guidance trying to it depends how much work you put into it. I personally don't love. A lot of I don't like the breaths there, but I would like to cut out the breaths. So let's take this part of the track and I want to show you. So I like to cut out. Um, the breaths kind of in between. You don't have to, but I did take out the breasts and then add a little bit of automated delay. So if you listen to these, I've been moving forward. Looking past tense. I've been finding beauty in your absence. I've been so if you look at this, I've cut those things out. And if you pitch a little automation joint, go to the delay. You can see I've written in the delay to just It's Not a Ton again. I got the inspiration from the Drake joint, but enough that it fills up the empty space. Let's check it out. I've been moving forward, looking past tense. I've been finding beauty in your absence. I've been looking back on her wasted time. I'm actually switch this back, um, to my regular headphones so I can work with this with you so we can turn these up. So, um, now if we come back to this delay, you know, it's it's just a little bit wet. It's on four little feedback things I've been looking back on that wasted time. Yeah. Uh, that serves me is a reminder kind of memories got me sliding down a Mexico. I'm enjoying these blue skies, so it's It's pretty apparent now because the beast not playing, but when you play with the beat, it's not. It's just a little bit more hidden forward. Looking past. It's been finding beauty in your absence, I've been looking back on. The way that serves me is a reminder kind of memories got me sliding, Enjoying these blue skies. Yeah. And so that's kind of how I like to rock with those at first. And I also want to see let me see if the auto tune Okay, So here's another part. Two eso. The way that this track works is, um, depending on where you keep your breaths in and out to. So I do the same here, cut the breaths out. But then this is more like a rapping verse. And so here I don't have U Unless you listen to I don't I don't cut the breaths out and I don't have the delay here. Back that money, you kill a friend black. Just seven drinks making money are access. You were blessed with chemicals in it. Ask test laying on a muffin, someone changed foot strain and then automate the laid back in here. Another thing about this track is, um when it comes to effects and automating the effects is, um when it comes to comping your vocals, that's not something I'm gonna really be able to teach you. That comes down to your preference. But pretty much what that means is watching tutorials on that out of comfort vocals. But it's pretty much you take the pieces that you like. And for all of these four takes, right, I'm I have different parts that I'm said. I saying better in different places. But then you all join them together and one called him able to If you notice is every single one, um, I'll have I'll have them fade in and out just the slightest bit. So I fade out. The tail's gonna take out the breasts and also fade in the intros. Um, now, the last part of that was automated. That I want to show you when it comes to effects is there's this part that after the song kind of finishes, it drops into this like everything's halftime eso here. Ah, still singing off key. It's cool. Um, I wanted to pitch mess around with a little altar boy. Let's see. Did I keep that? Yeah, I got so check this out way. I turned off the auto tune here, um, automated the auto tune off, and I turned on little older boy and mess with the pitch. So this is kind of the way some booth? Not so you can really have fun with your effects. Automate them once you've kind of got your compression down. Um, you start to kind of can do these to taste depending on what it is that you're looking for . There's no right way. There's no one sle, Wrong way experiment and then really, um, have fun automating its part That takes the most time. But if you look, I take all the breasts out and then have fun automating the delay. It's one of my favorite parts is because I just like I like effects. That's my favorite Part of it is like, really kind of toying around with just getting weird. I like weird stuff, So that's why rock, But as you're mixing, continue to come back to reference track. Last time to teach you is the mastering and getting your volumes right In this next video 6. Mastering & Final Thoughts: so before If you remember how we were talking about when it's just the beat. So load like seven ish 6.5 with vocals Someone change Still falling for the same was fined back then I came one what you did to me already Way Turn this So right now this is coming in there. It's coming around 4.5, you killer and black dress drinks making money access you so I can't run after three, cause it takes its taking too much CPU, obviously, but I want to commemorate a little black dress seven around, like maybe 4.5 and then watch your years trying this limiter. Um, you killer and black. Just seven drinks making money access. You were blessed with angles in asset laying on my some with accent changed. So right now, because I'm I can't use any of the limiters because this takes too much. See, fewer is gonna rock with the built in able to in limiter. And so because we have about four or five dbs ahead room, you can this able to limit or you can really crank this bad boy. I don't like it to bop up to compress it past negative six. But I'll probably bump it somewhere in, like between seven and eight range normally. What kind of? Just dial it into taste. You'll kill a black. Just seven drinks making money. Access You really? Okay. What years have you really blasted? It starts to adjust. Distort. You'll killer in black. Just Children drinks. Making money starts to become a little flats. You killer in black. Just seven drinks making money are access. You were blessed with angles in asset. Lay it on my Penis. Um, Booth change. Still falling for the same was fine dog back then came one, so that sounded pretty good to me. Um, at least volume wise. And once once I do a rough master rough master, pretty much meaning has turned the limiter do the process. I just showed you bringing the beat to around negative six. Negative native six negative singing. Bring bringing the vocals that everything's around a total of negative four. And then I master it. I'll then go back in once it's mastered into a round of them more because once things are elevated, then little breaths might stick out to you or the vocals might. You might be like what we focus away too loud or that affect his way too loud or whatever and something that I really want a hammer home. When it comes to this kind of final part of mixing her vocals, mixing a track is how important it is to mix on different speakers or headphones. If you're in the studio, everything sounds good on studio monitors like you can play terrible songs and it sounds poppin So these headphones. I really like these, Um, but I don't think that they when people listen to tracks, don't listen to them on nice headphones. So I feel like these give me kind of a very like beats by Dre headphones like have really heavy bass. So though your base will often feel like you have more based on your track than you do if you make some beats by Dre headphones. But it's important to to listen to a mix un beats by Dre headphones because people will be listening to your mix on beats by Dre Headphones. So but I, um, I don't even have him in here. So you're there is my go to mixing these headphones These are my go to headphones for mixing, not even joking, because this is but mostly all are listening that music in anyways. And so I I get him to sound good in here, and then I'll play them again and those And if I can get them to sound good and knows I'm happy, because that's where most people another place that people listen to and what you another speaker you have, you might leaving. The amount is off your your phone. That's what's the iPhone. But who knows? Phone you have. So those are the three that I use because that's all I have or your laptop, too. But, um, if you can get him to sound good on terrible apple headphones or your laptop or your phone , then you're in business. Another place. If you have a car, listen to it in your car. Because the car test is an important test to see how it really knocks in the car and sometimes the basis and come through in the car, you won't. I think it's really hard to nail it. For every single system, you really got to pick a target. Choose your target. You want the structure really knock in the car than making for the car there certain tracks you can listen to and you realize that the sneers really are. Are the the heuser mixed too loud? And so it snaps in your headphones. So it's like a man. This. I don't like the way this sounds heavenly using a car and make sounds perfect. And so there's no one real perfect mix. You've got to choose your target and then mix for that. So I'll do a rough mixing these and then often listen to my apple headphones are going a walk in this my apple headphones map iPhones and then come back and maybe cook dinner or do something else. And then later, I'll listen to it off my iPhone off that by phones again. That's something that I want to talk about as well. Kind of Little Final Gems is listening fatigue. After an hour after two hours, you sit with your track using three mics. Whatever it is, your ears get tired. Just you get fatigued. You start to lose track of like a real true sound, so mixed into a rough mix and then come back to it later, Um, and you'll be able to hear you'll be able to pick up things that you might not have heard before. Be like, Oh, wow, this is too loud. But I didn't even realize it. Um, along those lines, obviously, I'm not a professional engineer by any means. Um, you have to just choose a point in the mix is dine and roll with it because it's never gonna be perfect. And you can have, like, 80 renditions of the same song with different mixes. But get it good enough and realize that people don't give enough about your snare siblings . People really don't. They're cooking dinner in the shower there at the gym that aren't they don't really care about frequencies. Get it as good as you can. Don't overthink it. Finish it. Ship your product. Move onto the next one practice. Keep that in mind so the steps are e que clean at the vocal, compress it, then add some effects to it, and then make it loud and come back and make any tweets. See if you missed anything. Mix it on different headphones. Don't forget about a reference track. Hopefully, that was helpful. Thank you for tuning in. That is how I create my vocal mixes and able to end with mostly able to stop plug ins. If you want this vocal any of these vocal things. If you want things for production. If you want guides we want Resource were sample packs. It's producer downloads dot com or Keogh Ryan dot com slash resource is you'll find all that stuff for free. I've got a producer of all. I've got a bunch of cool stuff coming on the way. Thanks so much for tuning in, as always, means the world. Hopefully, this was helpful in some way or another. If there are courses that you want to learn, please let me know and I'm happy to make for you. Appreciate you tune in as always, checking the next one peace.