Mixing, Mastering & making Vocal Chops using FL Studio | Saad Bhatty | Skillshare

Mixing, Mastering & making Vocal Chops using FL Studio

Saad Bhatty, Musician & Producer

Mixing, Mastering & making Vocal Chops using FL Studio

Saad Bhatty, Musician & Producer

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12 Lessons (1h 6m)
    • 1. Introduction to Vocal Chops

    • 2. Setting Up

    • 3. Lets Get Chopping

    • 4. Adding Plugins and Effects

    • 5. That's a Wrap

    • 6. What is Mixing and Mastering

    • 7. Mixing the Track

    • 8. Using Parametric EQ2 for Mixing

    • 9. Setting up Maximus for Mastering

    • 10. Working with Head Room

    • 11. Adjusting Compression and Gain

    • 12. Finalising the Master

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About This Class

Class Overview

Vocal Chops

In this class we are going to dive into the wonderful world of Vocal Chops. they are a great way to add atmosphere, create hooks and enhance the power of vocals in song. Frequently, vocal chops are used by the likes of KYGO, Vicetone and Don Diablo to make powerful drops and unique melodies. 

After producing the vocal chops we will then move on to mixing and mastering. 

Mixing and Mastering

Mixing and Mastering is one of the most fundamental parts of audio production. Without a good and proper mix, there is no mastering. So in these videos we will look at mixing different part of your track properly and then the most efficient way to master a track.

This class contains video 5-10 minutes in length, however they are full of information and right to the point.

I hope you find the class useful and if your're brand new to producing, be sure to check out my Beginner to Advanced class.

Happy Producing!

Meet Your Teacher

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Saad Bhatty

Musician & Producer


Have you ever listened to your favourite artists on your music playlists on Spotify, Apple Music Deezer or any of the numerous music apps out there and wondered what it would be like to create your own songs?

Music Production is one of the most liberating feelings in all content creation. Being able to express yourself in a way only YOU can describe. Whether you're into Dance EDM music, or are looking to produce the next big Trap/Hip-Hop track; you'll need to learn all the basics. I aim to help you learn the ropes with Fruit Loops Studio ( FL Studio) so you can create some crazy bangers!

A bit about myself!

Guitar and Music Production

I am an avid music Producer, Guitarist and Drummer. As a musician I'll help you get into music by getting your comfortable ... See full profile

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1. Introduction to Vocal Chops: Hey, guys, Welcome to my skill share class today We're going to break down how to make vocal chops. Andi, I invite you all to enroll in my class on I produced a remix as part of Reagan's competition approximately six months ago. And as one of the top 50 producing artists in that competition, I thought I would share how I did my vocal chops that track on in this class in particular , we're going to learn how to create vocal chops from an acapella the a cappella Andi the instrumental will be provided in the project, fails on Just to give you a teaser as to what to expect. This is the remix track of mine And I'm gonna play the The build up as well as the drop Just to get a feel as to what you're going to be able to do once you enrolled in my class is bite size. So it's nice and short. I wanted to keep it punchy, but very simple to follow. Andi Yeah, I hope you enjoy. So here just a few snippets of what to expect. So I hope you enjoyed that. Andi, I look forward to seeing you in my class, if that is something that you would like to learn to do and, as always, happy body sink. 2. Setting Up: Hi. So before we start importing, the files were going to set up our door to make sure we are in the right BPM. So let's bring this down from the stock 1 30 or lay down to 1 15 That's gonna make sure that we have the right key signatures and the right timing when it comes to importing not only the ACA Palace but also the instrumental that I've made for this particular test. So migrating 12 older, we can bring in instrumental. You'll find these in the project files on the classroom in the section um, when you enrolled and also bring in the lead vocals. So the lead vocals are what we're going to use to actually create the vocal chops, and we're going to use a plug in called Supply Sex really useful plug in, and it's really easy to use as well. So just before we do that, let's have a listen to the dry acapella. So when I say dry at mean, there's no added effects on there. So if you would like, we can add some different plug ins to add atmosphere. You know, reverb because delay we can use e cues on other saturation base plug ins to AMP the sound. But there'll be for later class, but we're going to focus on now is listening to what it sounds like dry on. Then we'll listen to the instrumental, and we're then going to start vocal shopping on DSI What we can make. So let's give this a listen. Taking a stroll the I'm afraid to be lonely. No, but he told me it's harder than not thought to tell the truth. It's gonna leave you in p shares all alone with your demon in the know that we need this, but have been do afraid to follow through hope they close and a pool the because it hurt when you hurt somebody so much to say. But I don't speak and I hate that I let your star me because it hurts when you hurt some for the so you can tell he's got a really unique voice. Know where his name is? Andi? It from his song Hurt Somebody and again a re crisp vocal. So when it comes to working out, Capellas the crispy, the better as it gives you more room to play with. Now let's listen to the instrumental. So this is part off the song I made. So this is a remix. I did, I'd say six months ago. And we're going to base our vocal chops around a build up at the start and then a drop. So for those who were trying to get that sort of vocal drop experience this off hooks and something you can overly in a drop, this is definitely the class for you. Andi, Let's get that. Listen on, DSI. That sounds like perfect . So now we've imported our sounds. Let's get on to choosing the right plug ins on making the vocal jobs. 3. Lets Get Chopping: So the first thing we're gonna do is make sure these audio samples are rooted to the mixer . So if you scroll up, let's go to five. Let's put on six. So I'm giving myself some room here because I might want to add in some extra audio samples or do some, um, sampling off the samples to add, you know, different off adul effects. So first things first, let's label these up. So instrumentals blue. Andi is this purple? So that's a simple control. L two match the color and the name to the mixer. So we're going to work on and created the vocal chops for this part of the song on. And one of the best ways to do that is to use thesis pace explosion. So if you head over to the plug in top down here, you're gonna see supply sex. I'm gonna drag back in to the Patton area or the channel rack on going to put this on number one. I'm gonna rename this to vocal chops because this is going to be the pattern area where we can actually choose our vocal chops. I normally do a no me to a pink or purple for my audio Onda, we're going to now open the sample in this plugging. So if you double click this here we have the audio sample. Scroll up. Come here and drag this into here. This is easy is that now Let's play Sax has an auto slicing tool on order Tyson function This is this until ah cut symbol there Click on this It automatically slices along the song So now if I opened the piano roll you're going to see a long staircase off Notes on all of these reflect the song So if I play this you'll now see how it waas taking a stroll pauses here taking his throw the so this is working its way up the song and up the staircase through these markers that each while these markers represents one part of the slight song As you can see here I'm breath eight No, me. So you can already see how quickly you can start to cut and slice and dice the vocal chops . Now this was done using water slicing But you are free to slice this as you wish. You don't have to rely on the order slicing. I just think it is a really good job. Um, but you can also shorten the length off the sample to get more chops, which obviously is just ah, cutting through on then and then making this a unique example. So what we're gonna do now is start working on some sort of shops which worked to the Metrodome. So if I opened this week, we don't need to use any off the ones already here because we only want to use a certain selection, as you can see, delete those and let's work through this and see what different things sound like. No. 000 Oh, that's quite cool. So you don't know? Uh, you so So? So when when? Yeah, don't. Fine. So I like that. So Oh, did he owe cocoa? Uh, you You what went dumb na d But come home. Uh uh. You when? When So you can see this Quite love playing around here, but is a quite a creative and productive way. Teoh extract the you know the song from Into slices and it's really good fun. Um, this could take quite a while, So why will do is I'm going to try and arrange a composition here, which sounds rather catchy. Andi, I will fast forward this so that it's ah bit quicker for you to watch as well. But feel free at in this process, just a work your way through different slices Tournament in Amman. So, you know, you're in time on. Then let's see what we make. Okay, E d again, it's going to get the balance just right where it sounds natural, but no. Who are vocal chops at natural, Right? So there's some sort of electronic sitting there, but want them going to do is pull in another spice X because I want to use one of the the last parts off the, um, the chorus in its full form. I don't want a vocal chop it. So let's bring this in. That's sliced this again. And I want to use No, he because it hurts somebody. So much jealousy because it hurt when you hurt somebody. Yeah, that part there the because it hurt. I hope the close and pull the because it hurts this part right here between 15. Andi 20. So that's copy this. Come here. 15 and 20. See if this works. No, you afraid to be okay? Who? Meet this? That doesn't sound right. All right, when you heard some. Okay, we're not quite there. See where we are Here, Truth this but the because it hurt when you hurt somebody, right? So it's you actually all of this here. Okay, let's try that again When you first. It's part here. Come, buddy. Come, buddy. Come by spoon. Come back. Come on. Do you come back? B So try like e t. I, uh come. Um De uh huh d So let's see what that sounds like with the drumbeat. Just so sometimes he was kick drum, Andi snare Just to see things sound catchy and they work. So this is just a stock. This is the stock. Um, kick. So apologies if it sounds bit weird. O de de Okay, that works. That works. So it's cut this cut this. All right. So now we have our vocal chops. Now you could see that's pretty easy to do. Different songs will have different, um, melodies. Dipping complexity is so it's really up to you. How far you want to go with making vocal chops. Sometimes they can be a bit over the overwhelming. So it's about getting the balance right. So now we've done that. Let's work on adding some effects of them. Andi adding them toothy instrumental here at the start. So I just at those plane. Let's hear what it sounds like going to remove this now. Okay, that's that's pretty cool. Um, but obviously, it's not loud enough. It doesn't sound you cute. It doesn't sound punchy. Eso Let's now work on adding sand plug ins to this to make it sound better. So, um, I do have a few changes I want to make to it, but before we get to that, let's quickly change this part here. So there's a section. There's a section in this which sounds a bit. It's just here. Yeah, it's just this part just here day, De right, so let's do that now. 4. Adding Plugins and Effects : So we're on most track one. So control L on this. Let's daddies and plug in. So I'm gonna isolate this track just so that we're listening to the same pattern. Perfect. Let's add in some reverb now. I just use free t reverb. It's the Stock River plug in. I think it's really it's really nice. It's useful, but they're quite many other ones you can use as well. Um, it's really up to you. I'm gonna keep this about 10% okay? And as an e que so with e que I want to take out the lows because it's quite a lot of sub Basin this instrumental. So I'm gonna make this a high pass, increase the order to eight. So it's nice and steep, so it's a hard cut off. We can add some high end as and clarity, but in this particular case, I am going to do it to their But I'm gonna add some Syria imaging as well. So if you have Maximus, you can use that. If you have this, think you're it's called ozone imager. It's a free plug in, so I urge you to go and get it. And where you can add width or make it stereo or make it mono. So if wanna stare a stereo rise, still realize How do you say that? This will help wide in the sound so I'm gonna widen it to about 45 then you can choose how much you want the width and you can see it visually here. Want to start e E. That's if we had about 45 to rise to about 67 I play that Bypass it again as that atmosphere and depth, because the drop of the song is quite simple. Every But we want to use the vocals as a hook, so something that you can repeat. You know, it's a pattern on do you want? Make sure that pattern is quite surrounding wholesome. So let's add Keep down there. I will also add, um, some delay because everyone expects delay. But I'm going to some ping pong delay. I'm gonna keep it low time because I don't want it to be going on about the delayed going forever, but also reduce the wetness so that it is not too powerful nicely done on. Then, finally, I'm also gonna add some compression onto this. So I have a few different types of tools that I use for this. I either you can either use That's the basic compressor. Ah, multi bank compressor. I I tend to use Maximus for my compression as well, so you can actually go on this. And you can You can choose how much compression you want to use on here. But for the sake of S. Maximus is only available in the signature edition of Effort Studio. So I will just use a fruity, multi band compressor o t t. So we'll try both just so you can see how they both work. We already have no lo ends in our track because we cut them all off here. So there shouldn't be any fiddling around with this area. But it's just making sure you have the ratios right on the highest in the midst to make sure it's over compressing the track. So I only put it at about 1.2 to 1, and then I bring this down to about 1.5 of the ratio. Now, one of the good things about this a cappella chop here is you can see it on the current master bus. How we still have like mine. I purposely dropped the master bus down to about minus five so that we have more headroom to play with when it comes to adding gain and post gain eso if we go down to the master on , we want to increase the sound of this. We can actually open up Maximus, and we can use this as a mastering tool. So rather than mastering the track after we've exported it, we can directly do it while we mixing toe at that front end. It's a lot more power to the track. We have no lows as we've taken those out so we can remove that completely. But we do have mids and highs. Andi, if want to, we can add some more stereo here. So that's, um, model on the right stereo on the left. But we've already added some stereo using the ozone imaging tool, so we don't need to do that. But we can just use this area toe increase the gain on Adam of compression here. So if I press play and we'll see what that sounds like, e. E. Thank you. All right, so let's see what this sounds like. Now that we've added some plug ins to it, We meddlesome compression. We could have some saturation if we wanted to. That again can be done. Either him in, um, Maximus or I have a really nice plug in which I use, which is by Fab Alter Its called fat built a satin on. I choose to this I choose just as a basic saturated old filter than that as well. That has a lot Mawr punch Onda bit mawr weight to the vocal. But let's see what this sounds like. Now, my apologies. We need to make sure we put the based back on because that is on the master bus, not on the single mix of channel. So I'm not just gonna mess around with this for a little bit and try and make this as I would want it. Andi, I will show you the finished article. Um, in a few moments after, I have just done some thinking and fast forwarding, but I'll open up and you'll see what what it looks like. Swell 5. That's a Wrap: So here we have. Well, I feel is probably the best we're gonna get at the moment with local shops. Eso is very similar to what it was before. Haven't changed much. I added a few more chops there to add a bit more like brilliance to the track. So let's see what it sounds like. Did it? - Yeah . And there we have some vocal chops, which I hope you like. I certainly do. Um, I will attach the midi vocal file into the project folder so you can actually download these straight away. Andi, I hope you've learned something today just before I head off. I did put on sound good, Isa as it's just a, um it just amplifies the sound. It's it's powered by Maximus, and it just makes everything loud. And you got four options to choose from, and you can choose the wetness, the or the amount of application before that particular sample. So I hope you enjoyed it on, and I will see you in the next class. Please leave any questions in the discussion area? Andi, please take the time to write the class if you can. Thanks very much. 6. What is Mixing and Mastering: Hi. Welcome to my school shop class today began. Look at mixing and mastering, which are some of the fundamental components when it comes to order production, especially once you have made your track and you want to enhance the listening experience. The mastering is the final step off audio postproduction on. The purpose of mastering is to balance the sonic elements off a stereo mix and then optimize that for playback across all systems and media formats. This is usually done by using tools like equalization compression limiting on stereo enhancement. Now there are plenty off online tools which help you master, where you can upload your track and it does it for you such as Lunda. But what we learned today is how to do it yourself, at least to the best of your capabilities. And there is no exact way to do mastering. There is no right way to do it either. Everyone has their own techniques and sound, and each mix is different. So, as I mentioned before, the goal of mastering is to ensure that your audio will sound the best it can on all platforms. Music itself is compiled of many complex and intricate sort frequencies, which are produced by all the instruments in your track. This can come from bases and kicks and sort of low when frequencies to your mid frequencies , which come from nearly all instruments. And then those high frequencies, Which are the more tini sounds that you hear on day. Ideally, you want all of these frequencies to be sonically correct and enhanced or compressed in areas where it needs doing so. So why happy It? Loaded is a remix I created from Passenger his name, songs Caravan, and this is a pre mastered mix, and we're gonna work through the different steps that I take went to master a song. So when it comes to mixing and mastering their two different elements, so a a badly mixed track will not be fixed by mastering. So. One of the key things to do first is make sure the mix is good, and when I refer to mixing, it's all about getting the individual parts off instrument or a track toe work as an entire song. So it's like building a car. All the parts of the car need to come together for it to run properly. On the mixed down process is all about making sure the right pull up parts are in the right place. Once you have a good mix, you can have a good master. So the first thing we're going to do is make sure all of his instrument work together. And this will mean me having to add some more Q or some more, um, additions to the instruments that I have here. And after that, we're gonna then move on to mastering. So one of the things about mastering attract is you want to amplify. The sound increased the gain, but to the point where it is no longer distorted. It's a mastering, in effect amplifies sound. As you can see here on the left of my master bus, I have purposely put the gain to minus 4.7. That way, when you have the song and you render it and export it, you always have some headroom before it gets to the decibel zero. What you don't want to do is go beyond desperate zero, because that is when you start have distortion and crackling on your speakers. So let's give this song you listen and see where we think the mix could do better, and then we're going to export this track and then do some mastering 7. Mixing the Track: So let's play the song out and see what it sounds like. - You can around these caravan watch the flames take away. It's a I want to go She's on Okay, because I know how this track goes. The drop here is repeated throughout the later drops in the song Andi. Therefore, I know that this is the loudest part the track on Do the one thing I noticed when I first felt the the lead, which is a flute pick up, is it's quite tinny. So we're gonna locate that in the mix of Channel on. We're gonna look at the Parametric eq you now, this is already being premixed as it but now begin to some post mixing on the finished article to see how that works. So if I press play and also one thing I noticed was the sub base was quite heavy in the mix . So let's see what we could do with sub base to try to equalize that a bit more as well. So when it comes to mix in the sub base, I try to isolate that so that the only frequency in the low end is either the kick drum or is thesis a base because I don't want to. You model the frequencies in the lower end as that can spoil the mix when it comes to the masking process as any unwanted frequencies we can't amplified during the mastering. One plug and I like to use on the Master bus is the span. So this is a visual audio visual Isar for the audio frequencies, and it helps you see what the spectrum off the entire track sounds like. So it's good to get balancing now. One important thing with vocal tones or the balancing of vocal or vocals across the track is if when it comes to playing songs on different devices being mobile phones, iPads, a Bluetooth speakers or studio monitors each one off. The different systems have amplification built in normally, so they either over amplifying they automatically compress music. This is the same when it comes to uploading songs to spot Spotify. Apple music is during that uploading and processing pro process. They tend to all tend to add extra compression to your song, so it's always important to make sure that the mix before mastering is it's as level as possible so that there is equal. There's an equal spread off the frequencies across all spectrums. So if I press play now, you'll see what I mean. So here we can see that there is quite some differences between the Lohans and high ends and the mid. So we're gonna try and reduce the midst so that they're more level with the highs and lows . And then once we export, it will have a more uniform frequency format for all of the all of the different instruments that we have in the track. So one of the ways to do that is we can isolate each one of the instruments separately and see which one off those is causing the issue. Onda. That could take quite time consuming. So if you already have an idea of which songs are more heavy in the midst, that helps, I already know that a lot off my mid frequencies come from my muted guitars. So these ones here so you can see we have some highs there. So I'm gonna go into the muted guitars and adjust the central mid frequencies a bit. Lower them slightly and see what that sounds like. So it's around the 1000 mark. So let's just go back into here again and you can see around this area. Number five is where we have more off the frequencies occurring. But it's also important to make sure you get the balance right. So it's okay to have high mids as long as it's balanced out across the instruments and it's not too invasive. When it comes to the listening experience, get another listen. Maybe that's better. Let's do that. Let's do that to the other instruments as well. So this is some stabs. So this is using serum so you can see that they're quite nice and uniform already. That's perfect. Let's have a look at some of the leads, as that's quite important as well. The bells have quite a high frequency, so let's try and make those more uniform. - That's a bit better. At least it's a more uniform andan. Finally, let's look at the drums. You know I have this nice you shape. I purposely did that. So obviously the low frequency since the kicks kick drum on the hi hats collapse and high percussion are in the high area. That leaves nice space in the centre in for the mid area for the other instruments to play , so I don't need too much changes there that might quickly come to the sub. The kick drum on a just that a bit to make it a bit less thumb p because that will get amplified during the mastering process. Now you can have your kick drum in different ways. I like toe have a bit of the high end, so it has a bit of the top hat sort of top drum sound to it. If I was to simply make this a, um, a low pass so that no high frequencies were there, the thump would be there. But it will miss the the the the sound, the acoustics sound that I'm looking for from the from the kick drum. So let's see. All that sounds like with were them without see it stumpy. But it doesn't have the same character that it did before, so let's put that back to a four and make that have there has been more character, the drum, or you cannot you can actually adjust the pogo, which is another thing you can do. This would change the sound set sound style But I have no intention to do that for this track because I already like the kick drum. Okay, that's perfect. So it's quite a well balanced mixed anyway. So one of the things that you need to make sure you do when you're putting the track together is mix as you go you can use and a reference. So I normally start off with a piano as you can see the piano up top here. Number six Perfect that The reason why that was low is cause it's on automation. He, as you can see, I've automated it to start from zero to go to 100% when it comes to remixing songs or any songs which have vocals, it's important Teoh, try and figure out where the vocals are going to sit in the track. Different artists, be it male or female, have different styles off singing and their different ranges. And the actual frequencies of the voices can sometimes clashed with the instruments that you're using. So passenger himself has quite a, um, a mid to high, I would say range in terms of frequencies. He hasn't got no high octaves, but frequencies. It's quite a piercing voice. So it's important. Understand that as well. So let's give the song. Listen now and we'll just start off from the drop on and we'll go from there. And I think once you've done that, we would export the song and then prepare it for mastering. You can around these caravan watch the flames take. She's on such you lose everything really, really different. Sign, Post to the blind is heaven for the cruel But the devil waits for perfect So why did there was I adjusted the volume automation on the piano down here, Andi, I also just took out some of the low end from passengers voice as I mentioned before, he's got a mid to high range on that was visible from the audio spectrum. As you can see, you can around these caravan. What's the flames take? You can see that mid toe highs A pretty prominent. Okay, so I think that sounds well. Andi, export that now. Andi, we're going to look at mastering 8. Using Parametric EQ2 for Mixing: So after exporting the track, I've now re imported into a fresh, um, new effort Studio a file. Andi, I have put channeled the caravan track to my mixer one. Now, to keep things simple. I'm going to be using Maximus and equal FL Studios are equalized to These are standard in the effort Producer Edition. But you can use other tools as well. Other free plug ins online to do that. So on in the insect one, I'm gonna bring in the parametric eq you and also gonna bring in Maximus. So if you've got a well mixed track, you're not going to have to do much changes to the actual, um, frequency. Peppermint Parametric, ecru frequency. Plug in. You might have to do some small adjustments with high end and low end, depending on, um, you know how what it sounds like. Andi, if we just make this bigger, we already know where the high volume or the most punch apart the song is. You can see here in three separate drops, so we're gonna start there on we're going to isolate about. Let's say that's isolate 16 to 25. I'm gonna work on the loudest part of the track. So let's see what that sounds like and try and mix on the parametric eq you to see how it changes. I'm not going to do any massive variations because, as I mentioned before, if it's a well mixed track, you don't need a Duminy changes just small, subtle ones. One thing we will do before we continue is I'm gonna make two separate, unique tracks so that we have a separate once that we could use this as our reference. So if I put this in here and then replace this one with go. So now we have two and a separate this and mute this just that We have a reference as to what the old one sounded like on what the new mastered one's gonna sound like. Let's try that again. - Let's see what this previous one sounds like above it. So now that we've done some changes on the EQ, you I'm also on the master bus. I'm gonna bring in span again, just toe, see how, um, the tonal zor vocal frequencies change across the spectrum. And to make sure my mastering we keep things level perfect. So now we've looked at Parametric eq you Let's see how we can use Maximus to start the mastering process 9. Setting up Maximus for Mastering: So once you have Maximus opened, it's quite easy. You could just do it through the menu here, and you can click on presets. Sorry it. Replace and then you can choose for me. Sometimes you have the tree filter, which means you have some drop down menus. But I have mine all laid out like this. So Maximus is here. Andi, we're gonna use Maximus to increase the loudness to make sure it doesn't go over to DB and trying to try and pull out as much volume and clarity as we can through the plug in. So Maximus itself is a multi tool. You can use this to That's I chain if you wanted to. But it is very much a tool used to help master mix. So any of the presets here you already have different options. You can use it vocals when it comes to ds oring. Eso This is to get rid of the noises. You can use it for drums. Try make more punchy. There are already pretty set mastering presets, which are really good. But that defeats the objective of learning to master, in my opinion. So we're going to look at it from scratch. So in the morning, in the view here we have low mid high. And with Maximus, you can do single compression. So a single band compression where it just doesn't all at once, or you can actually split into their lows. Mids and highs If we go to the band section thes are showing you the different frequency bands. So we have our lows up until about 200 hertz into 2300 hertz and then up to 20,000. So this is where you can adjust a crossover of your mix. So if you start playing the song, we're gonna isolate the lows and make it solo. That way, we only hear this frequency spectrum and let's see what that sounds like. So with any multi bang compressor, you want to isolate their frequencies according to the instruments that you want tohave in those zones. So with that with the low ends, I'm looking at the sub bases and the kick drums. Andi, if you do have any other instruments of sense which are providing you with sub base or bass little frequencies, you want to include them in there. So you want to exclude any of the high range and save that for the centre, mid area and just the check. We can have a look at the mids as well. So as I mentioned before, mastering is not an exact science. Everyone has their own way of doing it, and there is no correct way to do it. Different people here, the different crossovers at different frequencies due to their hearing. But you've just got trying balance it correctly where you could tell the difference between the high frequencies in the mid frequencies. Here it works pretty well around 2.5 1000 hertz and just before 9 900 about sorry, 100 hertz here. So now we've isolated all of these. We can start to work on making the song louder. 10. Working with Head Room: So currently we have quite love headroom without mix. If we just play it now, play on full master. You can see we've still got six db minus 60. We have minus nine, so we've got plenty of headroom. So in this we can increase the gain off all of these now increasing these increased the pretty gain. So No, this is before compression. So we can pull these right up to the top cause we have quite a lot of room to work with. Breath it. 11. Adjusting Compression and Gain: so Maximus can be quite daunting. You have obviously gained saturation. You have attack, really? Release to stay in etcetera. But you don't need to get bottled down by all of these eso. It's quite normally it's standard is toe have attack just below two. So this is how quick the how quick, um, compression gets applied to a track and then releases how long after it stays there so and only keep release around 55 50 55 an attack around two milliseconds. Andi, we can let's see what that sounds like now. So I'm only gonna apply, um, a bit of compression on the mix. There's no need to go overboard. If you've got a good mixed track. You don't have to do a lot of compression. It can take away some of the punching nurses, some of the character of the song, especially in the low end eso in the low end. I'm just going to apply a bit of compression, and that is done by using the graph here. If we hover over, move over to the monitor weaken, get the blue line is zero db so we can see how close we are to that line. - So I'm doing here is having a bit of compression. So when we turn up the post, we are always we're gonna be compressing it and make sure it comes below the zero line. We have the ceiling here, so saturation is important. We want to make sure saturation was always minus one db top left corner. You can see it there. That way the ceiling is always cut off just before zero. So no matter how much you gain, you won't be clipping the sound cause clipping can be quite a big thing in the media music where if it's too distorted and it cuts African, clip it. So we clip it just below zero. Db will have no distortion. - That sounds pretty good. So I've put the the sorry I moved that I moved the saturation sealing a bit and put that point minus 0.0.5. And this is where you consoli adjust the game of the post again, Um, knob there. So one of things I will do is in each. While these multi bands in Maximus, you can choose as to whether you want it to be more mano or mano or separated. This again enhances sound eso for the low end. We don't want that to be stereo separated. Otherwise, that concourse and phasing issues. So we're going to keep that rather mono in the center. And then with the mids and highs, we can add a bit of separation there so that you get that nice atmosphere when you when you play the track. So I'm gonna put this to about 25% separated on same with the highs to about 25% as well. - So another plug in that I like to use on this is I'm gonna bring in the ah span tool again. This is just to make sure that all the frequencies sound good and I'm gonna use another plug in called groups. All right, you lean loudness meter. So this is a really cool tool, which allows you to see where the lounge the loudest parts of your track are. And that way you can adjust accordingly to the zero db. Now, I did that. You want to try and get to minus eight? Um, or minus minus eight or um, minus nine. S o d. B. Here we have some true peaks. So that means we are having some decibels which go above zero, which you want to cut out so I can go back to our Maximus. Just make sure on the master burst, we are compressing it just below the sort off the scent across their here. I think that sounds pretty good. Um, let's go back to hear me do a quick test to see what the one sounded like before and after . - So we've got currently about minus 30 and minus 13.5. We can increase this a tiny bit to minus 10 and I think that will wrap up the mix. But let's have a quick change here. Change the post a bit more. So I suggested those multi band compresses Teoh release. So about 55 milliseconds. Let's see what the last final piece sounds like. That sounds pretty good. 12. Finalising the Master: So just to confirm what we've done so far we have looked at the Parametric eq You adjusted for clarity and sort of brilliance in the high ends and adjusted where we felt there on Maximus. We have gone through each one of these bands, Onda we have compressed, But we've also gonna increase the compression a little bit because I want more punch in the face on the master bus. This acts sort of like a clipper. So even if you lift it that up to here, it will never go above minus three. But we also put a threshold at minus 0.1 db. That way, no matter how much you put the game up, it will never go above zero BD and cause that, um, it won't blow your speakers that basically which is what you don't want it to do, it can still distort as you'll see now. So now it's tryingto find that loud in a sweet spot. So So they did that that part where it becomes slightly distorted. We want to try and get to the point just before that. So what about that? Minus eight Rangers is good. - Yeah , and I think that's a wrap. So let's give the previous one. Listen on, then. Have mastered. - Yep . And there we have it. So I hope you've enjoyed this Scotia class. I'm It's a nice, quick way to do mastering Andi. Um, if you have any questions, please leave him in the discussions area on if you have any. Any tips as well. But we'll follow producers. If the things that you did that you felt, what better for you do share them in Andi? Yeah. I look forward to seeing you guys in the next class on until then. Take care. Andi. Happy producing.