Mix Breakdowns - Series 1 - Afrobeat | Dré Major | Skillshare

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Mix Breakdowns - Series 1 - Afrobeat

teacher avatar Dré Major

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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

8 Lessons (53m)
    • 1. Intro

    • 2. Session Org

    • 3. Drums

    • 4. Percussion And Fills

    • 5. Music

    • 6. Vocals

    • 7. Automation

    • 8. Mix Bus Processing

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About This Class

This class seeks to take a dive into the mixing of Abdiel's "Show Me", an afrobeat song. 

You are sure to find workflow techniques and tips needed to get a great mix yourself in Logic Pro X.

This class is broken into sections for easy navigation:

1. Intro

2. Session Org

3. Drums

4. Percussion & Fills

5. Music

6. Vocals

7. Automation

8. Mix Bus Processing

Meet Your Teacher

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Dré Major


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1. Intro: Hello and welcome to mixed breed dogs with dream major. Today we're going to be tackling one of my favorite genres, Africa. Now, I'm gonna place my final mix here for you to listen to. And then we're gonna go through it. Then this line again, cosine is run again, silicon is fine again. Those design again. Swine again. Bosons is run against Islamic. And again, and again. Yeah. I know, I know. I sat down to play a severe ones of the plaza, but anything Eduardo advice? We went beyond just financial. Yeah. Why that happens is we have put it up on your clothes. We affiliate drop. So now Africa is a very percussion heavy type DRA, percussion and drum heavy type genre. So we're gonna be dealing with those two things. First, there's going to be eccentric remotes. 2. Session Org: So before we start going through Jones, let's look at how the session is organized. So if you look at my previous class, everything is pretty much the same in terms of organization. The first thing we have is all courtrooms. That goes to what, kick, snare, hi-hat. Those'll be in accord drums. Those go to our drums core bus. Then we have, or Phil's on our percussion. That goes to our percussion bus. Then we have both or drum corps, buzz and percussion bus going to all men drum bus here. So just so you can see every I kinda call it everything so you can see how it falls. It falls a bit better. So we have core drums filled and precautions. They each ONE individual bus. And then they go to give me and drum bus here so that we have music, which goes to the music bus. So then both the drum mean drum bus, as well as the Music Bus fall into the instrumental bus here. After that we have all fucose lead vocal, a lead vocal be an ad libs, those fall into my lead vocal bus here. Then we have the background vocals that fall into this background bus here. Then we have the breads and had fallen to its own bus breads here. And all of them, the lead vocals or background vocals, and breads fall into this main vocal bus here. So at any point in time I can select and solo out or mu dot anything that I particularly want to, if I want to do a drum pass, if I went to a percussion paths, if I want to do any sorts of paths, I could have that a click of a button rather than having to do multiple clicks. And there's always things a bit easier, especially when you have to pretty move, pretty much move fast. So in addition to that on our output, just to let you all know on output or stereo bus or mixing thermocouple plugins. One being the Saturn to being Ampex were easier, or one or 23 being this new plug-in from Slate digital called fresh air. And just trying it out. So far, I'm pretty unlike in it. Now this is just saturation, more saturation, and a better brightness. So as you go through your b here and b effects on that. And when we get to the end, I'll be taking those plug-ins off so you can hear the difference and then put them back on so you can get an idea of what these plug-ins are actually doing to the mix. So now let's go into the drums. 3. Drums: So for our core drums, we have the kick. And on that kick we have EQ, Mulago, crazy, but trust me, it's whatever you have you want to ignore something does and it sounds like all you want of his own men by all means. Go ahead. There's no reason that you have to be very judicious in your, in your, in your EQ moves. You can do whatever you want once you get achieved the cell that you want, sometimes you have to Mika, crazy moves on dense is something not so much. So after that we have this query for a parallel equalize the 4-bit of brightness. For the low, we have this little loud voice of God. And I'm for more low and we have this logic Bruce sub base plugin. So then we just played for you without with my EQ brightness, low-end model and so without. And so after that, after shipping you kick everything else pretty much falls on the very basic TQM core drums. So let's look at it. After that we have V kick hat. But the brightness taken us on the law. By itself. That's sounds like this. Is like a loop sample. There's some kick on it and some photons that go open and close hi-hat. In very wide series. After that we have our smear hit. Just brakeman. Well, I didn't some willingness to enter it. And then a bit of brightness and tip much, not so many frequencies that I didn't like. The snare Poland or this is the kind of rhythm that the, you get a lot in Africa beat on that just a couple of the frequencies I didn't like can pull somebody low end. After that we have the snare polo, which plays a similar rhythm. Similar but not the same, but still lack an attribute rhythm. Again, just a little bit. The low end for the y-coordinate would even Safina would tool in snares as well as some rule and also a low end. And this will be the brightness of utopia. But more like mid-range push. After that, we have the snare brick, which is Monica smear rule than anything else. So I pull up your own thing. So just a bit of brightness and roll off the low end. Qualitatively, we normally reinventing the wheel. After that we have the hi-hats, follows the same tick off some of that law and a lot about low end and the top and go through. The SOM is also pond. So that's the kind of add some width in the drums in general. After that we have our crash. Take off low and along the top to breathe. Does exactly what you would think you would do for a crash. After that, we have in the last sort of our drums, the club. And the club, all I did was take us only low end or what I also did to make it a bit more stereo was used the sample. So I delayed the left side, one side, the right side by phone to have 45 samples. So it says on it like this, pretty mono. Sounds like this. It over the stereo with all of these give us our drum core level of clay bad for you. And in fact are bringing them one by one as repel them. So very low or poor drums. 4. Percussion And Fills: All right, so let's go through the percussion. Firstly, have ERD dry fills, sonic this. On that we have push it in some limited range taken out tell me low and after that, we have the fills fulfill a sorry. On that. Loosens only brightness taken up the low end. We also have this stereo imagery just to add some width so that we have or fil be on that. A bit emitter and push to gas only low. And we also have or fill sea to gas only low. And once it sounds decent out of emphysema do low. And if the MAC is just which comes with like a default for me, I didn't really do anything else much. Then we have put it. Do laugh. If I am right and maybe wrong. If we tick off some of the lower mids. Let me rest, breathe to customer that low end. Or like the sound. After that, we have put B. Because on the low end, a little bit of brightness. Keyword move in. Tablets pose only lower mids. Push somebody who upper limits bright area the brightness, as well as pull off some of the low end. Now when I'm talking sometime most relevant document generalizations like mids, Lomas brightness. I must sit in frequency ranges. Respondents didn't frequently think, but with one, sorry, reflexive in frequency, frequency names, but I'll try to get too caught up on the molecule feels more like a how things appear to be legitimate. High-end Luann and qualitatively slower tablets that we have, o percussion section one, and just orbitofrontal meds. But mid-range push. After that on our percussion section to the course only low meds and otherwise breathe to guard the low end, of course. Now today we have or tambourine break, which I really don't even think of the tambourine, but that's what they call it. So we're we're tambourine breaks because I'm going to low and just in case and allow the rest brief. After that, we have or tambourine. A band pass type of EQ to WMD did awesomely higher natural frequencies at 10M. Quality. As to the o percussion goes to opera caution bus, which has a transient designer audit. Just the criminal him has the transient and any material as a group. And that was also done on our drum corps boss, we will solve a transient is either here, just to kind of imagine transients, then to suit you hear what everything sounds like. Altogether. The first law than so perks. Regardless. Further on the dialogue John's were there as well. Nailed rhombus. We also have this parsec EQ just earn a little bit to the low end into at 40 hertz. Mothering AVL is really just a small little button. And this EQ here where the transient designers are doing and I'm listing them off through obit dirt arbitrary met really hit on the other as it was. So that my best and I'm going to toggle them offer Nausicaa here were exactly what he's doing. So as a profession, does the drums. Because the drums, but remark on simply repercussion simply for the potentiometer. So the transient is ion kinda just makes everything feel a bit more lively, feel a bit more punch, you feel a bit more out there coming out of the speakers at UCLA. 5. Music: So now that we have our drums inside and we can start to look at our music. Music. First thing we have up is the base on lobbyists. We have just a little bit of taken off some of that Lulu and then we feed that into a compressor. Knock it awesomely transient. And we feed that into our little labs to again push diluted a little bit more, total enhance the low end. And then we have a promoted band, which I used as a data really kick hits to duck out to base a little bit. So that did not fight each other for so that we have for sub bass. On top of that we have EQ, loosen up some of those lower mids and mid-range. And some of that high-end. Again, a compressor. Just a team down. What themed on the transient. So bit passive EQ mucin someone else laws. Again, b is announcement again. For LAN little ads voice abroad. We promoted by N as well to knock, WE kick hits, doesn't knock it down just a little bit. When you kick it. After we have OBS drone. Pretty cool sound. So Muselmann mid-range and again, somebody brightness. And then use this wide no plugin to make it even wider in the stereo field to push it left and right. Surveys soup from going from something like this to this. So there we are. Our piano. Sounds like this. Stupid overheads. And the red one, which demands a bit. Again, both technology low and the high. Just a little scoop, tickets Africans into Guan Nian, Apple mother-in-law. And that might be Islands are taken away from the overall over the zone. After that we have signed pad on that because I'm middle end. Learn to breathe. Most times when these strands come, the sound is already did nothing other than clean up. There's nothing much else to do because it comes out some ultimate seventh or out of wherever it began, his unsound and PDD severity. So there's a strong impulse on that. Basically q take somebody low endosome Muhammads library. After that, we are the pads on contact or pad from contact on that old mid range push. Because only low and the cello is one of my favorite soundness record. Even knows what a cello synth, it doesn't sound like it belongs at all. Or maybe full contents or the song you understand what it's doing. But on this we have, I am boosts, pull out some of those myths. They've got that low and keep it moving. After that, we have almost since somebody Hi, I'm I'm really after after you EQs really Beth about Princeton it in terms of a level. So after that we have the base Brasil. Should I really be sound? And that takes off below, and we celebrate them in Mediterranean just to give us some presence. Then we have the electrical sent on that just because somebody low end. But it's 13dB, some dirty. Then we add the MATLAB gets like this. Sound reminds me of what Africa beats generally sell feels like. It's a regular matter and gives up the ghost on bamboo and keep it, move it. After that we have since brass. Let me say we're going to see a motherly mice. Then we have the pad saw. The complementary kind of rhythm that we have. There's a bandpass EQ took us on the lowest pKa, somebody had another platform contract. But whereas if you go somewhere else, because on that law and let me mention a few. But the midst through salary. After that, we have so oddity one, which is supporting gusty member before that. Because somebody loafer laws that cover a little bit the beehives and Hebrew move in, sitting for saw oddity B, because somebody else has to go. So when those laws that invisible through, then we have synth, HIV. Van brass can ease your wealth because some of those roles and the mice will burn. But predict generous loop antibody those words. After that, we have a red thing. Bandpass EQ took us on really took burned because somebody law and breathe. So we just have some hits on the law and that really affects sweep to go that low edge. And why did the bit we have to keep it move. It. Sounds like when if it's altogether and that's where you dropped it. All right, so that's pretty much how we achieved the instrumental sound. 6. Vocals: So now we can go on to a vocals mode, just a side note. This C6 side chain is just for the vocals. I just wanted to much out a little bit into the frequency wise in the instrumental for when the vocals going just to give them room to play with just a cognitively kick, knock doctrinal, muddy arms level of the beast so that the kicker room to breathe. Pretty much the same approach in terms of notching or just a little bit out of the instrumentals, refocus everyone to brief goals. I'd like to take a very simple approach to vocals in that convent of alkyl chain. And you apply it over your vocals, making changes where you need to. So with my vocals, I typically like to go in this order. One, if it's something, would melody, something where the pleasing things I like to use a bigger AUTO-TUNE just to give them that sound. The vocals came AUTO-TUNE rarity, Kim tuned and altitude rarity. No, they wanted to kinda exacerbates, exacerbate but over-emphasize the altitude. And so they asked me to add more. I did fall on retune speed. Retune speed is at 0. After that, after AUTO-TUNE, we have ODS circuit defocus was a bit siblings. This idea has to deal with that. After that we have our pool cue or EQ, which is just to deal with ME is used. We took a notch out here because babble throughout Illinois and frequency roll-off somebody base because you don't need a bunch of low end. And a little bit of the myths. What lower mids. After that we have our fast compressor, fast attack time, pretty fast release, just to kinda Team Don transient. Then we have Oslo Conference, slow attack, slow-release disagreement, more mold and shape the sound, which again is used to more shrub mold and shape the sound just didn't take off certain frequencies where I don't want them, say somebody high-end, somebody lower and there's a kind of shape the vocal again. So just so you can hear what it's doing to say this lead role PR here. I get taken out some of those laws. Somebody meds when they get to be too much closer to S1. Again, you close your class, she's won again. On your class, your class, just one again or closer, et cetera. Eq, doing what it's supposed to us, S0, S1, and so on. So once we have a general good sound, we could just apply these same Foucault Xin to the rest of us who goes where applicable, of course, in order to supply this vocal cheap to somebody else's will cause or some other signal and the sound will goes because it may or may not work. You may try it and see, but it's best to try to convert something custom to each signal. So we have on lead vocals or background vocals. And so your breath vocals, The only difference is in that see the background vocals are used a direction Maximus, the planet dot foo Albert, further speakers. So 90 degrees left, 90 degrees right? And that can make, gives it though further than this because all wireless because sound in terms of these background vocals here. And let's play that back for you. Just to kinda make sure that we always kinda beside and hug and be mean vocals. Same thing. As we go along. We are widen this vocal bit. That's wonderful. Group harmony is a decent show me. So here's one I go left, one on the right, and that's Center where we just trust a wide meant to go with everything else. And after that, on each of our group workers we have a bit of more EQN taking up some of that lower, middle, upper limits, those are newer. And let's try to make sure that we should be vocal as best as possible. It's also on the background vocals, as well as the breadth or the breads has its only q, just pushing out that Hopper and doesn't make it more sudden sounding. Well, as best as I could describe it. And that almost Judas Cambridge EQ, Adam bucket a little bit, laws touching the highs. And then this EQ taken up a touch of the opponents. Like 2s1. Again, you close s0, s1 again, you close, your close. Close. Just fine. Again, you close your clause, s0, s1. Again, you closer to S1 again, you will close your close to swan again, you close. Iowa and Bunny dancers sang endogamy attitude. You got me, you got me, you gave me and yelling, lamenting write-off Pascal you asked. And Calgary Show Me me, me, me, me, me, me, me, me or pull it closer. We are polar. So only vocal, pretty much silviculture him. Just little differences in retreat. Like you may have heard something Python backend for dancers because they use a pan man here on the ad libs. So it continues to move through the track. Unknown. Because workers by themselves dry, don't sound particularly good. Yours went to add a little bit, a reverb, a little bit the duly. So the, we will choose for these, for the whole session for the workers from this metric Halo, Halo verb. And that makes it if we focus on like this now, I just wanna close. I just wanna give you a nice little bit of reverb. And just because the Hollywood movie said that it has a little deleted. So it gives you that nice warm zone or only vocals that MySpace. So it isn't just somebody get us drive so that in the Myspace and you hear these workers close, your close, close, close, close. Just wanna gay or closer. To swap. We focus as well. We have a different points, different delays going on. We have demonstration. Finally Bernoullis. And each of them is doing something different at different points in the session. Sometimes may not even do anything. I've asked me, I've had them set up that way. 7. Automation: So we have some automation going on. Falling Water Mission effects wise, we have deleted 234. So this is degree two. So we get this sound. Closer to swan again, you close, close, close, close. And we have the three week goes on further down and show me show me when we have this delay. We are Polya closer. Funded, effectively has a different length, may have a different sounds on my memory filtered. So that might be a stereotype zone. It really depends on the fibers going, for instance. So on all the workers, we have some sort of automation in terms of whether it be a volume automation delay throws. So now that we could put all the stuff ordinary, listen back to where it sounds like they just wanna get closer. One again, you close, your close, close, close, close, close, close, close, close. Iowa and bonded. And so suddenly you got me, you gave me an easy way to add some interest and some effects to Sung just to kind of give it some southern life and fill up the little gaps that you have after that in terms of automation for the rest of the desert. And with this, we have some alternation going on here. In terms of panels, Domitian on the straps. These fills the neuron. Because I like stuff to kind of move and to be present in both left and right speaker, then I'll just come straight down the center. So that's why did some timing for these films. So say for instance, this fill this kinda help them move from Lester, right? Same thing for this film. As well as this one. As well as this one. Just to kind of give it move him. There's a gamma, keep you interested in the sound. Rather than just either say come in ministry dummy Center. To me, that's the most boring sort of thing. I like stuff coming from left and right and moving all the way around. The last set of automation I did was on the base where I wanted each node to kind of be similar in volume. So I did a bunch of volume automation here. Looks like. So on each note, the volume changes in order to keep the level consistent. So there's and that's on both bases. So that's really falling, keeps jumping around just a kinda keep everything level. So you can see it moving right here. The level o is this generally around the same? And just so you can hear everything back would be folk music. All the automation was going to play it back again and again. And again. 8. Mix Bus Processing: And before we pack it up, elastic and wanted to go to is the mixed post-processing, the number urinary tract. We have Saturn, which is a saturated. We have the DIS tape machine, ECR1, O2 turnover saturates. We have fresh air from slit Digital, which is a brightness Sort of plugin. So I'm just going to take off these silicon here with the mixed with sunlight, without any sort of mixed much processing. And then I'm going to put it on so you can hear the final result. So this is without some kind of dough can a lifeless going aboard. Then this is with going to much more interested in much more lively, much more president. And then he does go through these one by one. So I'm just going to talk about them on as I go along. So the first one is Saturn, just to add some sectors and across the board. Should be behaving differently. Three bosons. And let's put our relative machine which customers are juries or should we should. So here the difference between this without security really, that centre is so much going on on the frequencies. The top of their life again, where some drag race omega monster and this will be the brightness. The applicant. About agreements. There are no black drapes worth. We get badly til we get back nice brightness. And the boat. Remember, we sat down, we put all these plugins. You would get used to hold the mixed zones without any sort of enhancement. And that's fine. But sometimes it's good to mix through these plug-ins just to give you an idea of where it was omega B end or editing gates on them. As that wood out any Mix Bus enhancements that we both engineering and I am. But most, if not all engineers use some sorts of something on the unmixed books just to kinda give them an edge and dividends certain levels in sparkle. It helps. It makes the mixing process easier. And you can always send the Abbasid engineer. One would make both processing and one without. So that's pretty much it for this lesson. I hope you enjoy it and I will check on my other class. Outlets have abiotic. The next step, maybe the applicant's site. So I sat down to play a severe ones. But anyway out, otherwise, we went to the show. We appreciate it. We put it.