Mixing Bass for Low End Consistency | Will Edwards | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (40m)
    • 1. Introduction

      1:12
    • 2. Bussing & Gluing Best Practices

      6:19
    • 3. Gluing with Sculptor

      5:12
    • 4. Automating Dynamics

      2:56
    • 5. About Optimizing Bass

      8:39
    • 6. Bass Dynamic EQ

      5:40
    • 7. Low End Focus & Your Mix

      4:27
    • 8. Tip: Compressing for Depth & Space

      4:02
    • 9. Wrap-Up & Project

      1:31
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About This Class

If you feel like the bass response in your mixes is inconsistent or weak, you may need to reconsider the tools and methods you're using to optimize your bass.  This course focuses on the tools in Neutron and strategies for improving the consistency of your low-end/bass (that apply to many other software and hardware tools).  However, some of the strategies in this course can be applied with many tools on the market.

For the past 15 years, I've recorded and mixed audio from live settings (including San Francisco's Fillmore) to the studio.  One of the most challenging audio tasks?... getting bass to fill out consistently, without being overbearing or underwhelming.  This course covers tips and best practices for managing and optimizing your bass with modern tools (like Neutron's dynamic EQ).

You'll learn:

  • Which Neutron tools apply to bass
  • Quick fixes for weak bass
  • Using automation for bass
  • Tips for applying dynamic EQ
  • How and when to use multiband compression

As you continue through the course, you'll be learning everything you need to complete the class project - a great way to take ownership of the skills and knowledge in this training.  Good luck!

Meet Your Teacher

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Will Edwards

Artist. Creative Problem Solver. Musician

Teacher

I am a full-time professional musician who has broad teaching experience with guitar & bass students in rock, blues, jazz and many other genres. I perform live on bass, guitar and keyboards.  In addition, I perform live electronic music improvisation.  I've devoted over 26 years to my own well-rounded musical education, focusing on a mastery of all aspects of modern music - from music theory to ear training; from live performance to composition and practice routines.

I specialize in bridging the gap between music and technology, focusing on using modern tools to demonstrate all aspects of music.  I compose and perform with Ableton and Push 2 and I have experience with Cubase, ProTools and Logic.  I'm extremely comfortable using web-based to... See full profile

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Transcripts

1. Introduction: Hi, my name is Will. I've had a lot of experience doing audio engineering. I've used most of the DAWs out there. Pro Tools was my original training. I ran my own private studio on running Cubase for many years and we used Ableton a lot. I've even used digital performer and logic. So I've had a lot of experience with different software products. In this section I want to talk about neutron, but specifically features that are related to controlling the low end. Using sculptor and sculptor targets to really improve the balance and the consistency of your mix. So the consistency often has to do with questions of compression. Sounding flat to that sound dynamic. Does it sound jarring? And it's important that you understand what are the elements in your mix that are going to cause those kinds of challenges and then what are the best ways to solve them? So we're going to be discussing that in this section in some depth. And if you have any questions, I hope you'll reach out to me as you go through. But for now, let's get started with the course and focus on the next lesson. 2. Bussing & Gluing Best Practices: We're gonna start this section by looking at busing and gluing. And I'm actually going to be leaning on ozone dynamics just because it's got some pretty cool features that I think helped to explain what's going on. And since this is a neutron course, I think a lot of people will have ozone. If you don't have ozone, then you can still perform these things with just a regular old multiband or regular standard compressor. So there's not really feature set here that you can't replace with other built-in plug-ins from Cubase or whatever DAW you're using. So I just wanting to use ozone here because I think it makes a more elegant case for what we're really trying to do, which is utilize a compressor to glue together our tracks. And this is our first step in controlling low-end and creating consistent energy. So I'm going to start by looking at our master track here. And I'm gonna go ahead, hit command three to switch to my mixer. And I am going to load onto my MASTER_TRACK here. And I want to select ozone nine dynamics. Now, if you don't see ozone nine dynamics, but you own ozone standard, that's because being able to use the individual components, something that you can only do with ozone advance. But you can, if you have ozone standard, you can also load dynamics as a module within ozone, sort of mothership plug-in. This Dynamics module represents a multiband compressor. Now it can be a four band multiband or you can just use it as a single compressor. I really like it's learned feature which we're going to go over. And also like being able to solo the bands so that we can hear exactly what it is that we're taming, you know, what kind of consistency are we trying to work on? So let's go ahead and listen to our mix in order to have a sample to listen to. I'm just going to close in my range here for the loop to a spot in my track where I know there's a lot of audio. So if I leave it with its current configuration, it's basically just a compressor. But I can go ahead and I can add in different multiband crossovers. If I wanted to make this into a multiband compressor, what I prefer to do is use the learned feature which is going to set these using artificial intelligence. So let's go ahead and do that. That's a really great feature because now I've set up a four band multi-band compression set of crossovers that are already perfectly targeted to this particular mix. So as I listened to this, I feel like this midrange is kind of very present. The very low end is really kinda missing here. And there are some other tools were didn't discuss in later lessons to help with the low end. But I think there's something I can do here for the low end as well. What we do see is that there's mid-range, In my opinion, the vocal is just a little to present. So I'm going to turn on the all bands here so I can see all my Benz. I'm going to link the bands. And I'm gonna set my threshold and my limiter settings for all bands. That's what the link bands button helps me do. I'm gonna go ahead and turn that to two. So I have minus two dBm, my limiter and minus, let's say 18 for my compressor threshold, this is just keep around numbers. I like using the link bands to make those changes. I also want to turn on auto gain here. And I can see what kinda compression is happening. I can see there's quite a lot of compression happening on this mid-range, this channel, this multiband band two. And I can actually solo that band. Just listen to that. Actually want to compress this a bit more. So actually I didn't mean to do that. I'm going to turn off all bands. The goal that I'm trying to achieve here is to bring more balance to these four bands. I wanted, I feel that some of it is obscured, especially the low end and the very high-end are obscured. It's not well balanced. There's not consistent energy here. Okay, so I'm going to listen to the base. I'm gonna actually bring my threshold down here. I'm going to gain my base up a little bit. And I'm going to do that without it being solids, I can kinda do it to taste. One of the other features I really like is looking at this gain trace. This is going to show me how the compressor is working. So I can kind of see where the attacks are, where the transients are in the audio. And I can kind of judge, is my compression being overly aggressive or under aggressive? That's a really nice view. Now in the next lesson, we are going to look at using sculptor. And specifically it's all purpose targets for a similar effect on the bus. 3. Gluing with Sculptor: In the last lesson, we used ozone and we used, it's learned functionality, it's multi-brand and compression functionality to kind of glue together and create some more consistency on our master bus here, what I'm gonna do now is a Michigan to close this up, I'm going to disable that because I want to try sculptor and using sculpture for exactly the same purpose. Now Sculptor is a really fantastic tool. Sculpture comes with neutron. I'm not going to use any of these presets, so I'm just gonna close that down. What I do want to use are these all-purpose targets, okay? The all-purpose targets come in four flavors. Your ad punch, Instrument Bus, add polish, add fullness. Now, what's going to happen here is that sculpture is gonna function as a 32 band multiband compressor. Okay, what is re-creating his is what they call a target curve, but that's really a spectral response, if you can think of that way. So what ozone, or sorry, what isotope is done here is they have done some research with AI to identify what is generally of the spectral curve of a great sounding guitar or a great sounding orchestra, or a great sounding voice or whatever. What would be the ideal curve that would, people would describe as polished or full or punchy, right? And then the AI engine behind neutron has determined how to recreate that with a 32-bit AN multiband compressor. And when we use these target curves, we basically can decide, do we want to aggressively push our sound towards that target curve? Or do we want to lightly push our, our bus towards that curve? So what I'm gonna do here is I'm going to set add polish as my choice. Now, I have this intensity which I can bring up and down this basically do I want to do full on the curve, just enforce it hard core? Or do I want no effect or do I just want a subtle effect and so on, so forth. Tone is going to adjust sort of, you can think about is brightness and darkness. And speed is going to have to do with what's the attack and release. And you know, how punchy is this? How responsive is it? How smooth is it? So usually attack and release settings in a multiband compressor would help to either make something sound more transient oriented or less transient oriented. That's what you can control. Speed. So let's see how that sounds. Now that ozone has been disabled on this channel, I want to hear the effects of sculpture. Now what we can see in the orange curve that starts to show is the representation of this spectral Target Curve that sculptor has identified for adding polish. So I'm gonna play this and you'll see that as I bring this up, the orange curve becomes more defined and more present. As I bring this down, the orange curve basically becomes less effective. So we can see that it's doing a lot of work in the sort of mids and the upper range of very little bit of work here in the low end. And there's sort of a dip here in the, in the muddy region that it's trying not to affect. That's what they call adding Polish. I could change this to another all purpose like let's say, let's go with add fullness. That's much more an accent in the low end and the high end, especially in kind of a dip in the mid-range right? Now that's actually probably more of what I want here because I know that in the last lesson I found that in ozone, I'd wanted to accentuate what was happening in the low end. So I'm gonna go ahead and leave this on, add fullness. And what I'm looking for is I fade this is for there to be more balanced, more consistency with my low end so that the high-end is not overly aggressive and sort of obscuring what's happening in the low. And I'm going to bring the speed down to make it a little smoother. And I'm also going to bring the tone down. This is making it a little darker. So that's how you can actually use sculptor. And it's all purpose targets on a bus to start creating more consistency, especially with your login. Now in the next lesson, I want to talk about using automation to manage some of this consistency and manage energy. 4. Automating Dynamics: So I'm gonna go ahead and I'm going to disable both of our previous attempts at using plugins, the ozone and neutron sculptor when we had used those in the previous two lessons to try to create a more balanced. And what I'm gonna do is I'm actually going to use automation. So I'm gonna switch back to my project view. Now the main thing that I'm hearing in this mix is that the lead vocal is very present. I don't really want to go through the drums and put in automation for like every kick drum, there would be a much easier, I want to extent the base or the kick drum or something that would be a much more effective to do. And one of the ways we've already discussed using ozone dynamics are using sculptor or using dynamic EQ and multiband compressor will also talk about the low-end focused feature and ozone a little later. Those would be better ways for me to do that. But if I wanted to make the voice a little more consistent and I didn't want to use compression to do that. And I could use automation and just simple automation volume. So I'm gonna go ahead here and select volume, may expand this ln sec and see what's going on. And I'm gonna go ahead and I'm gonna draw in some lines like, like this k. I'm going to turn off my grid snapping so much to bring that down a little bit. So what I'm doing here is I'm creating automation that we solo this. If we solo this track, let's just listen to what I have here. I'm going to go ahead and reenabled my grid so that I can just snap. And let's just listen to how this center I can see the fader ever hear being managed and automation. So I'm actually writing in an automation on the channel in order to create consistency. Now I could do this with a compressor, but a compressor comes with other potential disadvantages. You know, this is all about knowing what all your tools are so that you can choose the right tool for the right job there times when you're going to want to use a compressor for this. There are times when you're going to want to use ozone dynamics. There's times when you're going to want to use sculptor, but there's also times when you want to use automation. Maybe you want to use dynamic EQ, which we'll be talking about later on in this section. So you want to know about all the tools you can use. And I want to give you a demonstration here of what it looks like when you use automation to start managing your consistency. Alright, in the next lesson, we are going to look at concepts about minimizing extraneous low-end energy. And I wanted to talk about how to use high-pass filters to do that. 5. About Optimizing Bass: Now let's talk about managing our extraneous load wind energy. Now I want to explain just a little bit of the science behind this. So base frequencies literally take more electricity, more power for systems to produce. What that means is that when you have a lot of base in your audio, it takes more power to recreate that base than it does to create midrange or trouble. So if there's a certain amount of power available and there's a lot of low-end bass frequencies that are kind of sub base, like let's say between at 20 hertz, maybe below 20 hertz, even below 40 or 50 hertz base that you can certainly feel, but not necessarily really hear with your ears. You want to get rid of that so that there is available power in the audio system to recreate your mid-range and your high range you're operates. So I'm going to just disable this read because I didn't really want there to be any automation on this vocal. For this example, what I do want to do is go back to my master track and I'm going to load on a simple EQ. Okay, so let's look at EQ and I'm gonna go with the neutron equalizer here. And we're gonna go to band one. And I'm just going to use in analog, Let's see, high-pass and I'll do flat high-pass. I'm gonna set the frequency at 50 hertz. And I'm going to turn this, set, this slope to 24. So it's a real sharp cutoff. So what am I doing here? Basically, I am really aggressively lopping off any audio in my system that is below 50 hertz. And let's listen to before and after. You probably even if you have a really nice headphones and even if you are here with me in my studio, you wouldn't hear as significant difference now, if you are just listening through a sub, you probably would hear a little bit of a difference. But overall, this is not changing the balance of our tune. What it is doing is it's ensuring that the electrical power, the horsepower of whatever sound system is, this tune is eventually played on, that. That system is not going to be wasting a bunch of its power, trying to recreate low-end frequency that nobody needs to or wants to hear. So I'm going to set up a cut here at about 50 on a bus. I think that's generally pretty safe. Now, if I had just specific instruments, like let's say vocals, I might even drop the vocals off as high as 150. And I might drop off a snare, high hats, overheads, keyboards, even guitars. I might drop off at 150, and I wouldn't really notice a terrible difference in the mix. What it would do is it would allow the kick drum and the bass to really come through with a lot more polarity. So I'm gonna go ahead and I'm going to select all of my vocal tracks here. I'm gonna go back here and I am going to hold down shift. An Option or Alt, I'm gonna go ahead and I'm going to add an EQ here from neutron, neutron equalizer. And I'm going to set my 11 shelf here. Since this is a vocal, I'm going to have a high-pass, flat high-pass. I'm gonna set the frequency at 150, which might seem kinda high, but you'll see that it's basically okay. I'm gonna change this to 24. Okay, so that's a pretty high curve. Let's listen to this track soloed. And I'm gonna go ahead and I'm going to disable this and bypass it. Listened to the before and after. And we can see in my Master EQ and how much low end is in there. But it's not really contributing anything to the music. So I'm gonna go ahead and I am going to press option, and I'm going to drag this out to all of my other vocals here. So I'm basically cutting off all of my vocals below 150. And it's not that I'm doing that across the board for my whole mix. I am doing that for my whole mix, but I'm just doing it at 150 for my vocals. I certainly wouldn't want to do that on my drums or my base. I'm also going to drop it off on my keys and I'm going to listen to how that sounds. So let's solo my keys track here and listen to this bypassed. And then it's not a significant difference in terms of what I hear. But I can see here that there is some low end that comes through and is basically wasting power. I'm gonna go ahead and also copy it onto my piano. And again, solving my piano. And let's listen to that. Bypass. Can see all this low-end and my piano. So it is certainly more noticeable there. I might decide, okay, I'm not gonna do it at 150. I'm going to do it. Just add say 90. Let a little bit more of that richness through. Now. It's not really audible, but I can see that it's taming that low end in a helpful way. So I'm gonna un-solo this and I'm gonna listen to my whole mix again. So that's a lot clearer. It's a lot more resonant. And what's happening there is not necessarily that I have fixed anything. It's just that the audio re-creation, once it actually becomes analog ones actually become sound pressure waves hitting my ear. The system is not wasting a bunch of valuable energy producing low end that I don't need to hear at the expense of high and mid-range that I do want to hear. So it has the effect of making my mic sound more articulate. Now, I do want to mention quickly that there is a risk of overdoing this. If you'd cut off too much here, you're just going to lose the meat and potatoes of your mix. So I'm gonna take just as a, as a sort of dire example here. Let's look at this neutron EQ. And I am going to take this and I'm going to set this at, say, a 150, like I did on the vocals. Let's listen to this, bypass the whole mix now. Suddenly it sounds. Has no depth, has no real range. I lose pretty much the whole kick drum. The kick drum becomes this kinda like flat sounding, two-dimensional Pat sound. It doesn't sound like a nice deep kick. So you can definitely overdo this and you do not want to overdo it. I'm going to definitely set this back at 50. But you can also see that doing some smart low-end trimming on a per track basis and then some general trimming. We had something like 20304050 hertz on the low end. Even for electronic music, where you want to use a lot of sub bases and step, this can be really helpful. So keep this in mind. It's very helpful way to maintain consistent energy throughout your mix and effective way to manage your low in. And ultimately, you can do this with any EQ. You don't have to use neutrons EQ in order to do it. Now in the next lesson, we're going to look at using the dynamic EQ, which you do need neutron to do. So we're going to look at that in the next lesson. 6. Bass Dynamic EQ: The last lesson we looked at shaving off the low end by using a series of simple high-pass filters. And we talked about having a higher high pass filter, let's say at 150 for things like vocals or maybe keys, especially the electronic keyboard, the electrical keyboard there. And then maybe even having a high-pass filter on our MASTER_TRACK, but something set much more conservatively around 50 hertz. Now what I'm gonna do is I am going to change this high-pass filter into a dynamic EQ configuration. Okay, so I'm not going to have a high-pass, I'm actually going to have a low shelf. And I'm just gonna go ahead. And I don't know, let's go with vintage. That sounds nice. So I'm going to use vintage here and I'm going to bring this up to 0. Now, what dynamic EQ is going to do for me is I'm going to decide if I want this to be around 50 hertz. I can set a threshold and I can say, okay, only instead of just cutting everything with a blanket high-pass filter, I only want it perform that cut when this frequency reaches a certain threshold. So often enable dynamic. And you'll notice that this era now changes color, telling me that there's actually something happening if neither the dynamic nor side chain turned on this heroes grey, otherwise it's colored. This threshold here is like a threshold on a normal compressor. It's a, it's a level at which this dynamic EQ is going to start working. And you can change its value here with this nice little slider. And you also get this up and down arrow. So what this up down arrow means is that when it reaches the threshold, Do we want to go up or do we want to go down? Of course, in this situation, we're going to want to go down. So I'm gonna set the gain for this vintage low shelf. I'm gonna set the gain at, let's say minus pretty severe here I'm gonna go with minus 18. Okay, that's really severe, but because I have dynamic activated, it's not actually going to be doing that cut all the time. You're going to see a gray line here that's gonna move and it's going to represent just how much the threshold setting over here is activating this dynamic EQ. Let's see that working K. So this is basically not working at all because I'm not reaching my threshold. Okay, so what is this doing? Well, this is very different from having used the high-pass filter, which just blanket was killing everything below 50 hertz. Then we also had the ozone dynamics, which is basically a multiband compressor. So it was just doing compression based on a specific range of frequencies. So this EQ, because it's dynamic, it's only doing this cut if there's actually some frequency response in this range that justifies it. It's a little bit like a multiband compressor insofar as it is, doing a gain reduction based on a specific frequency range. And then when the frequency range and its amplitude no longer justify the effect, it lets it go, hence it to dynamic EQ. And for my purposes here, I still prefer the overall sound of my ozone to what I've been able to do here with dynamic EQ. Once again, I want to present you with different tools that can achieve our goal of creating consistency and managing our low end. But in this instance, I really like what I'm getting from the multi-band compression, especially with the learn feature that we discussed when we did this low-end management using ozone dynamics, dynamic EQ is a very effective tool. And if you hold the Alt or Option key and you select a band, you can actually solo that specific band. So we're only hearing effects of that band. Let's listen to that. So this makes it easy to hear that we're really just affecting the kick. And probably the reason that I prefer what was happening in the ozone settings here is that I didn't really want to be reducing the sound of my kick. I want to be reducing the dynamics of my kick. I don't want to be reducing its actual frequency response, but rather the dynamics of it. What's the difference between the loudest and the quietest moment of my kick, which is why the multi-band compression, the approach is getting me closer to the sonic result that I'm looking for. All right, so we've got a few lessons left. In the next lesson, I'm going to look at low-end focus, which is another feature of ozone. For those who have ozone, I am considering that although ozone is a tool that is made by isotope and often is kinda packaged along with neutron. Not all uses will have that, but I want to cover it because it's specifically for low and management. Then I'm gonna talk about multi-band compression a little bit more. And then finally do a review and a conclusion with a project. So that's how we're going to wrap up and next few lessons. 7. Low End Focus & Your Mix: So in the last lesson, I determined that I actually quite preferred my ozone dynamics when it came to the overall sound of my mix for creating that consistency and managing that low end. However, since I'm using ozone here, I also want to look at a particular ozone tool called low-end focus. Ok. Now low-end focus is a very unique tool, very unique to ozone, and very effective for precisely managing low-end. What we're doing here is basically creating a single band compressor, but we get to choose what that band is. It only goes from 20 all the way up to 3000. So I guess we can go from 20 to 50, as high as 300. And we can reset our values anytime we want. So I'm gonna solo this and I'm gonna set this so that I can hear what range of my master mix I want to be affecting. I don't really want any vocals in there. Likewise, I don't just want kick. I want some of that base. So it seems like around 200 is where I'm getting most of the base and mostly kick I go, there's a clearly audible when I'm soloing this. And I'm not really hearing any of the vocals. Okay, so let's look. I've got punch and smooth, punchy and smooth. Basically that punchy has to do with T1, aggressive attack and release the aggressive transients or smooth Do you want slower attacks and releases that would kind of smooth out the transient is a bit more. If I solo this, it sounding a bit smooth right now, I certainly don't think I want to make it more smooth. And let's see what this says here For the Contrast slider, it's the tooltip says adjusts the spectral contrasts between low and high level signal content in the action region. So my interpretation of what that really means is that it's going to kind of push this music spectrally or push this frequency range that I have selected here from 0 to 200. It's gonna spectra really push that to contrast more with the rest of this region or less. So this would be less contrast. That would be more contrast. Let's see what that sounds like. Psi can definitely hear that coming through. Some getting a nice sound. I'm going to disable my ozone up here, which I know is already doing a lot of balancing work on the base and listened to it before ozone is on. It's really bringing out the kick, which I like that that's an important part here, that they kick is actually giving, making the vocal sound more articulate to me. Now this gain slider is really about Makeup Gain. It's not input gain. It's a little bit ambiguous here, but it's really about makeup gain. So I do really like the way that this is sounding. However, overall, I still prefer what's happening with the ozone dynamics. I think because There's actually multi-band compression happening here and it's not just the low end. So I'm getting a little bit more of a refined and tailored sound. Ultimately that's creating the most balanced overall sound, the most energy consistency. And I feel like it's giving me control of my loan. But there's low in-focus tool within ozone is definitely worth taking a look. Now in the next lesson, I want to talk about some multi-band compression settings that are generally a good starting point. So if you're starting out with multi-band compression, you can have some kind of basic sense for maybe where to start. 8. Tip: Compressing for Depth & Space : All right, so let's talk a little bit about using a multiband compressor in order to either bring things up front or move things into the background, okay. Rather than using any third party plug-ins, I'm going to go ahead and select the multiband compressor that comes with Cubase, OK? And we'll use this for our example. Yeah, I just wanna make sure that I have these other things muted or basically disabled. There we go. So let's start by looking at how we can use a multiband to move things upfront. What I'm gonna do is I'm going to compress the low mids, which is this part here. And I'm going to compress the mids, which is this part here. And I would bring them down just, just a little bit, just a few DB. And I'm going to notice that that sort of brings the general sound of the mix upfront. It's going to make it sound basically like the vocals in the high-end, mid, mid oriented instrumentation actually moves closer to us. Okay, so let's play it. And I'm going to bring this down so that my gain reduction is around 2.5 dB. And you can really hear how that has just brought the whole mix upfront. That low mids and the mids, you do a little bit of compression on those. Bring them down just, just a couple of dB and gain reduction. You're going to find that generally, I mean, of course it depends how you're low mids, mids are set. You could use the Learn function if you have the ozone dynamics. But even this, the general sort of prefab default settings here in the compressor, that multiband compressor that comes with Cubase has enabled me to apply just a little bit of compression such that I'm getting a little bit of gain reduction. I didn't do anything with thresholds are ratios or tax or at least or anything. And already my mix has come more upfront. If I bypass into the background, right? So likewise, if we go ahead and we undo these changes, and I'm gonna go ahead and I'm going to actually create a little bit of gain reduction on extreme lows in extreme highs ever done. Now if I bypass, goes from being more balanced to certainly a bit more treble Lee. But to my ear, it also has a bit more of a backgrounding effect because it reduces the overall depth of the mix to have done that kind of change. So I hope that the concept of using a multiband compressor in choosing specific bands, making rather slight gain reductions of around two dB can be a really effective tool for managing whether or not your mix is gotten more upfront sound or a more background sound. In the next and final lesson in this section, I'm gonna talk about a project that you can use. And we will look at how to use the stems provided here so that you can explore all of these different concepts on your own. 9. Wrap-Up & Project: Alright, so we've talked about dynamic EQ, we've talked about multi-band compression. We've talked about low-end control. We've talked about a lot of the essential components that are gonna help elevate a basic mix to the place where it's actually a really nice, consistent, tonally balanced mix. We've talked about using sculptor and the impact that, that has. And it's important now to actually use this knowledge in a practical setting. So what I suggest you do is you set up a project if you have another one already loaded in your DAW somewhere, or maybe it mixed projects you're working on. Fine. If you don't have any stems, you can download the recordings that I've made available here along with this, with this section. But the main step is get yourself a project that you can start applying these elements, these tonal balance and consistency elements to so that you can actually see and hear them working on real audio. If there's any questions you have as you're moving through the project, please reach out to me. If you have suggestions for how I can improve the course, please reach out to me. I'm available via messaging and I will definitely get your message and get back to you as soon as I can. So thank you so much for joining me in this section. I look forward to hearing from you. Feel free to share your projects. I look forward to hearing some of those and good luck with your mixes.