Mixing Tips 101: The Basic Fundamentals of Mixing Hip Hop Music Production | Joseph Evans | Skillshare

Mixing Tips 101: The Basic Fundamentals of Mixing Hip Hop Music Production

Joseph Evans, Make Better Music Now: Follow Me

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20 Lessons (1h 18m)
    • 1. Understanding the mixing process

      2:11
    • 2. Organizing Your Project

      4:20
    • 3. Busing Your Tracks

      2:37
    • 4. More on Subtractive Eqing

      10:30
    • 5. Mixing Tips Introduction

      2:14
    • 6. Frequencies 101

      1:58
    • 7. How to Master Your Tracks Professionally

      6:51
    • 8. Additive Vs Subtractive Eqing

      4:50
    • 9. Live Example of How I Mix Beats

      11:06
    • 10. Mixing Beats at PBM Studios

      4:31
    • 11. Getting The Proper Levels

      1:40
    • 12. Adding effects

      1:15
    • 13. Secret Mixing Tip

      2:26
    • 14. Reference Track

      1:11
    • 15. Creative Genius

      1:45
    • 16. Listen On Different Speakers

      1:57
    • 17. Panning

      3:08
    • 18. Audio formats

      9:02
    • 19. Boucing Your Tracks

      0:44
    • 20. Compression Tips

      3:46
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About This Class

In this introductory audio mixing class you will learn several key mixing tips to help you take your hip hop music production to the next level!

You will learn everything from organization to properly eqing and adding effects to your audio. Logic Pro is the software of choice used to teach these mixing fundamentals but please note that what is learned can be applied to any DAW. So if you use FL Studio, Ableton, Ableton Live, Protools, Logic Pro X, Reason, or any other DAW that is perfectly fine. By the end of this training you will have the tools to make your mixes sound more polished and sonically amazing.

All you have to do is enroll, watch all the videos, and actually spend the time practicing what is taught and you will be well on your way to producing a more professional sound!

**Please note**

These are the basics and you must, and I mean must, spend time practicing mixing your music to get better. Unlike a course on how to operate software, while the basic fundamentals are straight forward, specific instructions are hard to give because every song is different. For example, in the class you will learn about frequencies, and it is generally stated that kick drums fall under 500hz. In order to get the best sound out of the kick drum in your mix, how you adjust the frequency is based on how the kick drum sounds in your mix not just on the fact that it is a kick drum. I don't say this to scare you away, because these fundamentals are very basic, but please approach the information with the foreknowledge that everything is based on what you hear, and this class will be teaching you the basic fundamentals on what you will generally need to know to properly mix your music. I look forward to teaching you more. See you on the other side! 

Transcripts

1. Understanding the mixing process: All right, So what we're gonna talk about right now is getting levels. Um, one thing that you really really, really, really want to understand. What? I'm just gonna reiterate this whole aspect of mixing, all right, cause mixing is the process of balancing things out. Okay? And that's that's really what you really understand here in mixing you don't. It's not about trying to make the track as loud as possible, okay, that you don't do that in mixing. You do that in mastering. Okay, but in mixing, you're trying to get everything balance. So when it comes to like your beats, you want to make sure that you know the kick drum is not over shadowing the clap, the collapse not over shattering everything else like stuff is not too loud. You want to make sure stuff is not too soft. Like sometimes I've noticed in some beats that I had before, maybe the kick and clap might be super loud. And then you listen to some of the instruments and they could be turned up, okay? And so I really want to stress the importance of of listening to music and reference tracks , and, you know, once your ears air trained. You're not necessarily gonna always have to go back to a reference track all the time. OK, Once you get your ears train of you know how music's is sound. You know, you're gonna pretty much have a good idea. Okay, listen, I know that my melody tracks need to be up around here or vice versa. You can always go back and forth to a reference track. Now, what is a reference track? Let's go ahead and cover that again is more so. This a professionally mixed track that sounds similar to the beat or to the song that you're mixing. Okay. And you're going to use that as a reference to mix your track, okay. And so I just want to go over some of these different things and everything like that, and, ah, unless you notice this is that mixing? Is not you getting to track as loud as possible? All right, so in a mixed next lecture, I'm gonna go ahead and walk you through What? I'm gonna do what I do to mix this track, okay. And we can go, You know, we're gonna go go in into this. All right? 2. Organizing Your Project: All right, so project organization is very key. Very, very important to getting the great mix. First thing you want to make sure that you do is that you have all your tracks properly labeled improperly organized. Okay, So what I mean by that is I labeled each track, whatever. Whatever the track is, that's what it is. Okay, if it's a kick drum Boehm kick clan so on and so on. Okay. And how I do it, My be says I put my drums that up top. Then I list my Basie sounds or low in sounds and then from there, list everything else. Okay, so after you do all that, then you want to come over here and make sure that all your tracks are put into buses. Now, more specifically, what a bus is. Think about what a bus does nationally. Okay, A bus transports people from one place to another. Is the same thing in audio production. Okay. Or mixing, or, you know, things like that. All this bus is going to do is take your sound signal and it's going to transport it to a designated place. I'll show you more what I'm talking about. So check this out. I have all my tracks here, and what I did is I just selected This is all my drum tracks, all right? And what I did is I just clicked right here. It was on going out to output, but the output of one and two. So I had to some basic going out the speakers. But what I do it is set it up on an auxiliary track What we call auxiliary tracks, which is an extra track right outside of your basic, you know, recording tracks. Is this attract specifically designated for busing tracks? And I put it, you could put it on any of these buses. I have unlimited amounts or not unlimited, but, you know, I have several bus tracks that I could do, but I just put it on bus one. And what happens is it creates and eggs auxiliary track, and all I did is naming. So I clicked on it and named it drums. And so I did that with several other sounds, too. Okay, So, um, my basic sounds I took that busted his bus to and renamed it base. Same thing with my melody tracks just took on a melody tracks and put it over here. Now, why am I doing this? Let me let me explain this to you. First off, what busing tracks is going to do for your project is free up some of your processing power on your computer. Now, the reason why that is important is because your computer, of course, is mixing or is processing the digital audio foul. And you just need mawr CPU power to do that. All right? And that's what that's one of the main reasons. A second reason, though, is because I can come into this this track instead of having to come over here and lower or a raise every individual tracks of him. I'm in the mixing process. I could just come over here in this raise or lower this dramas track easily, and and I'll get all that. The right sounds are SUV right level just for for one fader, same frame for the bay. Same thing for the melody track. So it makes it a whole lot easier. Ah, whole lot easier to mix. All right. And so another thing I do is I put a, um, a multi meter on the output, bus or output track. What that's going to do is show me how loud all of my sounds are coming in and the frequency that's coming in on so again, you don't have to have logic. You pretty much will have these different features in any program. But how you do is just go to the particular track, click on it and go toe like media ring. Okay? And you can do your level meter or a multi meter. All right, your level meters is going to get was coming out, the left speaker and the right speaker, and that's fine. But the multi meter is going to show you all of the different frequencies, all right, more on that later. 3. Busing Your Tracks: so if you look right here, um, have these tracks which are mainly, like you're my drums bust over the bus one. Um, I have my guitars bust over the bus to and I have some of my other instruments, like sound effects and stuff like that. Bust over the bus three. Now, what I did is I am labelled these tracks drums, melody and FX. Okay, so let's talk about what a bus track is. Alright, What a bus track is is really When you bust something, think about our actual bus. Okay? When it's on the row, what is a bus Do you put different people on him and the bus is going to take you to different places is going to drop those different people off in different places. The same thing with the bus, okay, in audio. So instead of the people being on the bus is going to be audio signals, okay. And so, in logic, how you set up a bus is fairly simple. Okay, you just highlight the tracks. You want to be in a particular bus, you go on it like this and you select bus and you can put it anywhere So let's look at these bus stops right here. Right. Okay. And you, Let's look at these bus stops right here. Right. You could have selected. Okay. Boom. I want you to get off on bus stops. Number 27 for these signals. Okay, so it's different. I don't know if anybody's ever read in public transportation before, but Atlanta, They have something called Marta. And so there's different bus stops and so you can get off on, say, bus stop 30 44. Whatever. And anyway, that's how you do that. You can do it. Same thing with any tracks, and we're gonna create these trash called auxiliary tracks and all the auxiliary track is is that is an external tracker out track outside of the function of doing, you know, audio recording, audio or recording instrument. All of all auxiliary tracks function is is to, you know, funnel signal OK, and effects signal. You could put effects on these tracks. You could do a lot of different things, but that's the first thing you want to do. Is bus your tracks? Why do we want to bust our tracks? We want a bus, our tracks because see, when you're creating music digitally. All your computer, you contributor needs processing power. Okay? And he's what they call CPU power. Whatever you won't, you need to make sure that your instruments of your digital processing and everything like that is freed up. And busting is gonna help you to do that, all right? 4. More on Subtractive Eqing: all right, We're back again here. And so basically, what we're going to talk about now is this attractive eq you an aspect of things. So let me this I'm gonna the li ar exit out of this, and I'm gonna show you some things here. Now, again, I have l marked tracks bust out and different things like that. How? The multi meter, Um, everything is in place and I have his kick drum, and so we're gonna mix the drums first. I have a loop on the track, and Solomon was don't bring in different instruments. - Now , the thing that the thing to keep in mind, when when doing these e queuing techniques and everything like that is simplicity. Okay, But sometimes it's just, like, say, cutting hair or with anything else, you can have it sound real good. And then you try to do that extra little thing and mess up the whole haircut. Same thing with the ah, you know, with subtracted e Q. And you can have everything sounded great. It might just mean something. This small change, okay? And so let's just listen to it again. I really don't see too much wrong with the, um, And again, I'm listening to this. I'm not, Is not about what I see or what. All right, you know, I know this particular frequency should be at this Particular is not about that. It's about my ears. So what I'm hearing I don't really here to money. Um, frequencies conflicting. So all right. So I'm always saving as I'm going by the way, command s and if you're using a Mac computer, which I would think you would be, But you know, his command s or it will be. You go to foul and save on the other one. Anyway, let's let's start adding some instrument tracks and we'll see how or some melody tracks and we'll see how this begins to get a living more complicated here. So what I did here is as used to see graphically, the sweet spot is right here. Okay, Now it's attractive e que in, and we're gonna play to get into it, you know, which is attractive you cue on. What I'm doing is, if by taking out some of the lows on this track is making some of the lows on some on the eight awaits and something kicks, tracks to stand for for a little bit. Mawr prominent. So by taking that out, you're gonna still here That Ah, here. The lows. Better on on the on the eight awaits etcetera. OK, so check it out. You see how they gave it? A different a different sound. And it also doesn't compete with some of the other sounds. Now, that's just this sound us. Let's bring in Amore Basie. Sound all right? Let's Let's check out some of these other sounds like you. All right, so this sweep sound is not is not conflicting too much, So that's fine. So this is another tip. You don't have to, you know, use in the, ERM manipulating the the sounds or do anything with the e que If everything is jelling together, don't worry about it. You know, Say it's all about this picking it apart. All right, so we're just picking it apart. This is Let's listen to this. I'm gonna push this on. You say you want to still be out of here? That that kick drum and the ate away still clear. All right. So that's why I'm kind of muting out these and say all right, Let's let's let's just focus on here on this turbo doing. Let's see, You said you see what I did when I added too much That that Ah, base right here. It started messing up the strike and everything started becoming blended. Now, if I come back over here and I take it out, take it away. Let's check it out and see I'm actually liking it better without someone all this stuff. So I'm just gonna go ahead in start from scratch on this, By the way, on logic, if you hold down option and click on anything, it just goes ahead and zeros it out to the beginning. All right, so let's check this out. I see. So that's all we needed to do on that track. You know, sometimes you start getting too complicated, he can mess it up, and it's okay to go back and forth kitchen, you know, saying he should bypass go back of four French and see what sounds right or wrong. Okay, but wait. Basically, what I'm doing is with subtracted e queuing, and I'm subtracting conflicting frequencies that are conflicting with other frequencies. Other tracks, if you remember and some of the earlier lectures, One of the utterly lectures when I gave the example of a car off like, You know, if you're driving in a car on the highway, you have, you know, the slow lane in the fast lane. You have no say someone who's supposed to be in the slow lane in the fast lane. You some sounds giving these different examples, and that person is conflicting with the people who are in the fast lane like that's a little person needs to get over to the slowly. So, yeah, if you have questions on this, please ask. And I'm going to continue to work on this a little bit. And then we're going to go to the next level, uh, the next lecture. And so now I kind of timeless as I'm listening again. Everything with mixing is based on your ears. Okay, as I'm listening like, you know what? That snaring a clap that can kind of come out a little bit more clear. So let's just focus on that for a second. - You see, I'm kind of using, um, a little bit of attractive e que and also with the additive eat hewing, adding frequencies, subtracting frequencies to balance out the tracks. That was kind of like texture issue. No saying we're making everything pretty much work within the track. And you see how I pushed over one of those frequencies over to the left, and it also helps, You know, saying we looking at frequencies wise is where you position things within the actual track . Um, with Pani. Okay, I'm gonna go over panning in another lecture, more detail. But this like that, that's that's killer, you know? I mean 5. Mixing Tips Introduction: a high are doing. Joseph Evans, Jr here. Welcome to the course. What? I'm what I'm gonna do. Here, do this drop. This course is really just walking step by step. What I do to mix my beets. Okay. Now, as you can see here, I have a bunch of folders open and everything. What I'm doing is I'm re categorizing my tracks, okay? Setting them up to be put into a beat catalogue so that anytime anybody needs music, I'm prepared. Okay? And that's what I want you to do, OK, After this lecture, I want you to set up some photos of foul system, okay? And I have one photo that's gonna have my catalogue session vow. So basically, whatever software program using okay, you are going to now put that software session of that beat that you've finished, everything is tracked out, everything's ready to go. You're gonna put that into a folder after everything's ready to go, OK? And, um, they were gonna mix to beat together. All right, now, I'm gonna use logic pro to do this, but the mixing techniques and tips that I'm gonna show you can be applied to any program. Okay? Ah, compressor is always going to be a compressor, no matter what software program you're using, you know, saying how to get the levels right on your music. You know, the failures are gonna be the saying he's gonna give you the same result no matter if you using logic, pro are able to live or whatever, you know, saying so just want to point that out to you. Don't worry. If you don't have logic, just kind of keep follow along the course anyway. And if you have questions, I'll answer them now. But this is more so. Tips on how to mix your beats and get a real professional sound guarantee you after you finish this course, your beats are going to sound amazing. And as it is gonna take some practice on your time on your on your part because you do have to train your ears and there's gonna be more on that later. But I'm telling you this that's what this course is all about, giving you step by step, how to, um, makes your makes your tracks mixture beats. So without further ado, let's go ahead and get into it. Let's go to the next lecture and I'm gonna go through that Step one what to do. Okay, 6. Frequencies 101: all your tracks, different instruments hit on different frequencies on a frequency chart. Meaning you have a different highs and lows. Okay. And so you want to pay attention to that? All right. And the reason why is because you want to create space for each one hat. Stay in her lane. As you. As you can see right here, there's different numbers right here, which represented different frequencies. If you think about from, say, 31 hertz, which I heard Is this a measurement of a frequency all the way down to 20 hertz, which is the lower or but really the lowest range of the on a frequency chart? This is pretty much like a lane. If you want to look at it like that, okay? And then you have another measurement, right? From 31 to 62. That's another lane. You have 62 to 1 25 is another lane 1 25 to 50 and on on and on and on. And so what you want? A different instruments are due within different ranges or, you know, have different lanes on the frequency chart. Okay. Different frequencies that they hit based on high and low, okay? And so basically, what you want to do is you want to make sure that you have enough room for each instrument to be in its own lane. All right is just like, if you're on the road, all right, you don't want to be, you know, have too many cars trying to be in that one lane. All right, if you have ah, card is driving slow and it's in the fast lane. What is it doing to the people who are in the fashioning? It's slowing everything down. And so it is unproductive, or is messing up the whole flow of traffic? It's the same thing in mixing with frequencies. If you have a bunch of low frequencies that are being bombarded by some other mid frequencies or vice versa, then it's messing up the flow of the track and you get a muddy sounding track. So I'm gonna show you how to how to get around that 7. How to Master Your Tracks Professionally: All right, So now this is probably gonna be one of the most important lectures of the whole course. So please, please, please pay attention. So after you finished your your your your beaten and mixed it, you want to go ahead and bounce it down, Okay. Go to bounce. Select. Where you gonna put it on? Put it in. Ah, my beat catalogue on the way. Fouls already bounced is down. But ah, what I usually do. First of foremost with the name and then put the BPM. Okay, but bounce it down. I put the wave file 24 bit resolution 1 44 over 100 it really could be 16 bit, but I have a 24 bit resolution. All right, so yeah, And you click this right here. If you're using logic, if you use some other programs, you know, you got to know how to do that. But I bounced it down. So after you about sit down. And this is this is this is where we're gonna go into man. Is that this is this is the core of it, man, I tell you. All right, So your foot, your tracks have head room, right. You're gonna go somewhere to master it. That's where you gonna take your beats to the next level with the mix. All right, is in the mastering phase now. Additionally, when you mastered music, you have to pay a mastering engineer hundreds of dollars to do it. Well, baby, and guess what? We're in the future, so check this out. We got destroyed. Website here, call lander dot com L a in the e r r D r skin me no eat dot com. Master tracks instantly sound like a pro without paying. Studio rates are learning complex plug ins. Listen, this is killer, so I'll get to do is go toe lander. L a n d r dot com Sign up for an account. They have different pricings. Okay, you can You can sign up for $14 in a month. $39 month. Or you can pay an upfront free of, like, $100 or $300 to get different capabilities or whatever, but it's still cheap, um, to be at a professional master your tracks. But all you would do is click here to pick a foul. I'm gonna go to their don't talk track. He's gonna upload now. I might take about 23 minutes to upload the painting on the foul and everything like that. But after it's uploaded, man, you're good to go. All right, so we're back. I'm gonna show you. Hear? The results were about 98%. And second, you gonna see the difference right here. This software, all my software is going to do to these tracks again. I left about six negative 60 bees of head room before uploading. That was important of that, because we're gonna master it. And now it's gonna sound. I'm telling you, sound crispies not sound great. Here we go. All right, So you hear the difference, man. I mean, that's that's pretty. That's pretty intense. A pretty intense difference, man. And, you know, mean from original, Where is kind of like to hear where sounded more professional. All right, so next thing you could do, you could change the intensity. Okay, Click on that is going to re master it again, and it is gonna give you several different options to hear it several different ways. And that's dusky to because for certain tracks, you might need certain a certain, like, off to it. And some might not need that off. And I personally have noticed that, um, the based on, like where you have tracks with, like, eight awaits or tracks that don't have eight awaits is going to make a big difference in the intensity, which was intensity you want to use. And so, you know, I show you what I'm talking about here a second. Okay, so now we're at this intensity level part of the ah, the site here, and you can change it from low to medium sigh my bad loaded medium the high. So let's check it out. Check out the different sounds and you'll see what I'm talking about. So let's check out low. All right? So after you found out, like, which one you like, Which one sounds good and again, you're looking for it to sound crisp and clear and smooth. You don't want it to be like dipping in and out. Like if you have too much pressure going on it like hi, I hardly ever use high. All right. I usually amusing medium. And if it has a lot of base and a lot of subs I'm using low. Okay, if you want. This is a good time for you. Also. Bring back out. Sure. Um, your reference track. And you can kind of, like, mash it with your reference track and say All right, look, I like how the reference tracks sounds. I wanted to kind of master master the master kind of write that one is, and you can go back and four fear. Keep it at medium all you do a save it. Saving sin, Okay? And so you could continue the master. Another track. Now, Right now, the type of program that I have, I just have the middle one wishes $14 a month. Aiken. You know, saying due to 39 a month, if I want to know if I need to master just like wave fouls right now, I'm just doing the MP three high quality in victories. But anyway, once you're done, you know you can check your email. We'll be there, or you can go to your account. Yeah, but actually, once you after you clicked on in my account, you come to the master history and even download it right there. All right, so use lander dot com. L A N d r e um, the r dot com right here. My bet to master your tracks. Great tool. And ah, hey, maybe I have questions. Thanks. 8. Additive Vs Subtractive Eqing: Now what we're going to talk about is two different types of, ah, ways you can, you know, process or affect frequencies in your tracks. Okay, The first way is, well, more than traditional way. And it's called additive E queuing. Alright, What additives E queuing is doing is boosting different frequencies. All right, so if you have a track and you know the frequency say is you know, sweet spot is like around here, and ah, you know, 303 100 hertz attitude. What you're gonna do is you're gonna boost at frequency. All right, Um, then they have another. Another way to manipulate the frequencies and is calls attractive e queuing. Okay. And it's the opposite is where you're gonna take out certain frequencies. All right, number. It is basically where you would take this down like this. Okay. And at least attractive e queuing. So let's take a look. A look at these things and I'm going to go home or in depth on the subtracted e que in in another lecture. But let's just look at the additive here. I have a track already going, and we're gonna listen. Is everything is muted out except for this kick drum. So we're gonna check out this kick drum here. It is gonna come in a little bit loud cause so, you know, bear bear with me on this, but here we go. So what I did is I went ahead and enable the analyzer, So you congrats ycl e c the way foul or where the frequencies air hitting and then also pushed the hold button on here and, you know, got the peak level of all the frequencies. I just want to show you on the frequency chart where this kick drum is hitting and work the sweet spot. So so to say is OK, so let's let's check this out again. So as you could see anywhere between, like, 60 about 60 hertz all the way to to 50 hertz, that's a sweet spot. Let's check it out again. No. So is that that's where is that now? Eso with additive E Q. And what we would do to say make that sweet spot stand out a little more is boost that frequency. And so what you want to do is make sure everything is selected here so that you can properly do it and I'm gonna move this over, okay? And it is pretty much boosting that particular frequency that those levels were here. So let's listen to it now. Okay, let's check it out again. Gives a different sound, okay? And sometimes you have to just train your ears on it and just kind of really listen to it. But it gives a different sound. And this is important to understand here that, you know, additive, you know, e queuing is is is a a technique that you're gonna use bus attractive. Queuing is is really the technique that you're probably gonna wanna focus on mawr. You know, it's like they say Maura's less so in the next lecture, we're going to talk more about subtracted e queuing and how to, you know, balance that without within your tracks and we're gonna get did dive into it, I'm gonna get right into the drums, get into, you know, mixing some of the the base here instruments, and I'm a show you instant. What's attractive e queuing? How that's really gonna help your track to shine out more than additive Ikuma Because you know, basically, when you're adding mawr frequencies, you're also adding mawr noise to your track. Okay? And when I say noise, I'm not talking about just noise would have, like, actually, more data, more white noise, and it clutters your track up. So you want to be very careful with adding the, uh, adding frequencies, okay? 9. Live Example of How I Mix Beats: Okay, so in this lecture, I'm gonna do a live example. I'm really gonna just finish out this track, show you what I do to mix my beets, okay? And really is kind of kind of tying everything in that. We learned in the course together in this lecture, and you're going to see a live example. Now, first I want you to pay attention to is that I have everything bust out. Okay, so I have my drums bust on one bus, our oxygen retract right here. And I got my melodies. Okay, that's the first thing I do. It is it makes it easy to, um, you know, just a levels and things like that. I have a multi meter or we can say a level. So that's something to monitor the loudness of your tracks. Okay. And again, one thing I want to make sure is that my beats are not going over this negative five db. There's something called head room here, and we just discussed this earlier, but this is something that you're It was in one of the other lectures, but I wanted to We'll go over this one more time. You have to leave some head room because I'm gonna show you in another lecture how to master your tracks and bring that level of professionally where is not clipping. But if you have your hit, you your track hitting like right below this for negative five db and they say negative six db db for decibels. Right then that's what you want to have on your track. So really, I don't spend a whole lot of time on the kids. Like basically, I've already trained my ears. Are we kind of know how I want the music to sound? And I'm just gonna go over some to some quick ships now, first off, one is while I'm making to be If you remember, another lecture here is like I said, you know, saying is done, you're the best mixes air done in the creation process a while making the beat. I'm already kind of mixing, getting the levels How want to All right. Another thing is I'm using a lot of these presets, different presets on the compressors and different things like that. Ah, lot of the instruments already have awesome presets. You know, I'm saying so, um, a lot of times we try to manipulate it. It might sound awesome how it iss And so, you know, saying just is this now about making sure that things are working together? All right, so up into his point, man, I pretty much kind of muted out certain things, and I have the drums on point, but I'm gonna go ahead and mute. Um, the melody and this have the drums going so I can show you what's up on that. Now, first off, you wanna have your kick sitting dissolute just above the mix just a little bit, because you want that. You want to fill that dump, and I'm gonna let you hear the music right now. Let's let's check this out. - Okay , so you don't want any year individual tracks to hitting the red? That's why I turned us down a little bit. But basically what I'm looking for is I just want to make sure that the tracks of sounding good crisp and clear So now let's let's add in some of these other elements high hat Cymbals, different things like this. - No , all I'm doing is adding you doing some of the techniques that I showed you with this attractively queuing took out some of the lows right here. So the lows from the kicks can come through. This is a clap e que you know, saying raised something e que right here and some of the, you know, saying that the sweet spots on the on the on this clap I just wanted to show you already kind of did some of this stuff, but that's what I'm doing on some of this. But it is pretty much solid faras the drums and everything like that, so I'm not gonna overly mix it. You kno saying if it's already sounding good and cool was sounding good. So let's let's go ahead and hit this melody up. And as you can see here, we're panning. Sometimes that also helps with the frequencies. Say, if you have a bunch of frequencies that are hitting in the same spot how the same frequency range if you pan them off to the left or the right, Sometimes that kind of opens up room for them to breathe. All right, so that's what I did. He wouldn't just get this guitar. Another trick you can use do is pan a few instruments all the way to the left or the right , and I don't do that with everything. But on certain things like these, this instrument right here only comes in during the hook. And so it might be a good thing to pay into the left and right. There's brass instruments. So that's what I'm doing this right here. - Okay , so another thing that I do is I loop out certain major parts of the song. So, like, for instance, the chorus or hook I looked at, I put that on a loop, and I just work on getting that chorus, right, because for most part, that's like the major part of the song. And if I can get that right, then I can pretty much work from there and get everything else right. And so another tip right here is that I would just go ahead and mix it. I don't even worry about Sometimes what I do is I want to worry about if it's clipping or not. I just get everything where it needs to be and then highlight everything and then bring everything down some, and then I can just maneuver he over here and bring this up now. Um, because this could just gonna take everything up here. So let's let's look at this. As you can see, it is coming over above this negative five db. So let me just look at that. So what I want to do is I want to turn this down. I want this to be under this negative five db right? Right around like negative 60 b and we could see it right here, too. All right, so the only other thing that we could do, we could add different effects to it. Different things like that. But I found, like I said, sometimes you keep things simple. It sounds the best. One thing to keep in mind is that, you know, nothing can be perfect. And so you want to make sure that it sounds professional, but you're not perfect, because if I try to make it perfect, I'll be here for hours and then is being frustrating. So one thing to get do is once I felt like I feel like I have a good mix. Go ahead and this bounce it down and that you could start listening to it on different systems. Okay. And so you go back and make adjustments, and that is a part of the mixing process. So what I'm gonna do now, I feel like this is a good mix. I'm gonna bounce this down, and then in the next lecture on my show, you, um, how to take the levels up way to master it professionally. Okay. And really, you're not for that much of spending that is not even expensive to do it. All right. And let me just say this last thoughts here on this is the reason why I feel like that's a good makes it because I can hear everything, everything that nothing is really to muddy or to like, hidden within the track. I can hear the snare here to kick the hi hats. Um, I could hear you know, the different sounds. So let's just look and listen to this one more time in the year. See what I'm talking about. 10. Mixing Beats at PBM Studios: 11. Getting The Proper Levels: next getting the proper levels. This don't underestimate. This is well, man, this this is pretty simple. You basically want to make sure when you mix in, you want to make sure that sounds aren't like. One group of instruments is not too much louder than other ones. One. Another group instrument not too less louder than others. So it's all about balance, right? The best for the best way to get bonuses to turn all your tracks down. You mix all the way down first, and they start bringing instruments up so you drink drums. Like I said, those are your That's like your foundation. So you want to work on that? First rule of thumb is is go ahead and make sure that kick is sounding perfect first and mix around the kick, especially in hip hop music, really in any type of music, this is just some stuff I do is I make sure that they kick is hitting where I wanted to first, and I mix around the kick. I don't some so like I'm not gonna mix around. The melody makes around the kick because the kick is what is going to drive the track is like, you know, driving force. All right, Um, do the cake bringing, snared And, you know, make sure those two things that those two elements are hitting right, Then start bringing in everything else. Okay? The base. Okay, that's that's the next thing. Because that's what a lot of people have problems with in mixing is the difference between your base and your kick, because they may be the basis, you know, competing, you know, mean and getting the proper levels can help with that a lot. Um, do you 12. Adding effects: Okay, So when are adding effects? This simply start with the presets. I mean, and I m pretty much effects were really based on, um, what you feel is needed for the track. I'm not going to say too much more about that. A set four with reverb and delay. Um, really try to use those very seldomly, you know. And when you do use them, um, Onley used them when needed, friend. And And I got some more. For appropriate way to say this is to, um not add so much reverb say, to a snare to a kick or to play, apply a rebirth Reverb on your whole mixing or mastering bus or output bus. Don't do that. Um, if you can eat it muddying up your mix and hiding all other instruments and so you want to sticks the presets and stick to the you know, you know, the basics are nose and only use it suddenly for certain things 13. Secret Mixing Tip: Now, this is a cool little secret here and deals with presets. All right, Now, within your program, Lyddie Pro, you able to, you know, add, you know, accuse the different instruments to overall track able to add, you know, different compressions. Different. You know, reverb is different, You know, everything that I mean, really. Logic pro had comes with a lot of great inbox, you know, a lot of great things inside the program, and this may be considered a little bit of a taboo, but what I'm gonna let you know is it is okay to use presets, especially starting off, you know, mean, because as a, you know, beginner, even intermediate, He and producer makes an engineer. You may not really have enough practice of experience to just go off a queuing your your your your beats are accusing your different instruments or, um, you know, adding to proper compressions and different. So I really recommend, um and you know, this, starting off finding a good preset and working with a different presets and then taking some of the tips and things I've told you and then maybe adjusting certain things based on what I've Sorry, I've showed you about the different you know, key elements. In certain days, you'll see in the court in in in the, you know, in the lectures to come when I'm talking about here. So but yes, please. When it comes to, you know, queueing when it comes to compression, when it comes to reverb, different things of that nature, don't be afraid to use the presets. Logic took a lot of time and effort to get professional mixing engineers to get good presets. And so take advantage of that. Even if you don't have logic, if you have a different program, you might have still brought this or to just wrote in his course. You know, just because you want to learn more, you know, mixing tips, even any other programs. You know, don't be afraid to use your process. It's a really good technique to kind of get your feet wet mixing and everything like that. So yeah, 14. Reference Track: All right, So reference tracks. All right, So what is a reference track? Basically a reference track is a professionally, already professionally mixed, a massive sewn or beat or instrumental that you're gonna use. Um, that sounds simple. It's similar to yours, but you're gonna use it basically, to gauge the quality of your makes. All right, That's that's why we need it. Is this for quality for quality control? OK, so don't over think about over complicated. Basically, when you're getting started with your makes, you want to just find us a song that or or a beat that's similar to yours That's already professionally mixing mastered. And you want to try to gaze. Okay. I like how their high hatches sitting here. What can I do to kind of duplicate that? Or what can I do to make it similar or whatever, Or, you know, just I like I can clearly hear everything in their mix. Let me see what I could do. The clearly hear everything in my mix. I see that you know you don't take notes. Oh, I see that they panned over here. This or did that here. Is this a track for referencing? You know, to make sure. Did you keep your quality in check? All right, 15. Creative Genius: simple to to understand is that we are all great. That means that you were made with greatness. That means that you are great. That means that you have the very essence of greatness living with inside you. I say it is t explain something to you, man. The people who are at the top, the people who are living the great lives and who have complicitous things Grammys, different things like that. They are all started off where you were. Nobody was born with privilege in the sense of they already. They came out the womb knowing how to make. So they came out the womb, know how to produce that came out the womb know how do you know rap or whatever you want to do in the music industry? They all started somewhere. So come in this thing with a great mind understand that you have a great mind and understand You have You are very talented. God is already equipped with everything you need and but just remain humble. Remain humble. But notice your great Okay, This is a key thing right here. Practice makes excellent. Not perfect, because that's the creative professionals. Ah, lot of times. I know I've struggled with this before and sometimes still have to check myself on. This is perfectionism. You know, Don't try to get things perfect, because it is impossible to do because we're all flawed. We're human. Okay? And that's part of being human. Is that you're not perfect. Okay, um, so basically, you want to make sure that you you strive for excellence and not perfection. Because sometimes as you strive for excellence, you never get anything. I mean, prepared perfection. You never get anything done compared. If you strive for excellence, we actually going to continue to go forward and then and get better and better, and over time compared to this role right now, okay? 16. Listen On Different Speakers: um, you want to listen to your track on several different types of speakers? Sometimes people think about once you get your regular mix, you know you're done. You know, that's not always true. And, um, this is what saved. You know, Actually, Dr Dre say is like once you like, this goes back to the whole less is more thing. Once you get the level Once you once you get to beat sounding like how you like it, then just leave it alone. Do some saying, don't overly do it. So this is where you could just bounce it down. You got it sounded good. It sounds punching and just let leave it alone, maybe even rest for a few hours or a day and come back to it and then listen to it on different speakers. You know, play it. Any car, laptop here, buzz, crappy speakers in your studio. Different things like that race you to go is to make sure that your beat sounds good and every system right? Little tip people back in the nineties and based in the eighties there getting this dope mix because they were mixing on these speakers called the Yamaha and that's tents. If you don't have a pair of those, I would suggest maybe checking those out. You don't always have to mix on those, but that's what they mixed on before, because basically, they're good speakers. But they weren't, like, so good that you basically okay, Let me say like this when you make some of the speakers, you pretty Mexican know that this is gonna sound pretty much like this almost everywhere. How this how the speakers were made, right? Anyway, you still want to make some every on all different types of our listen to your music on all different types of things. So it's all about analyzing what you've already done and seeing if you like it, seeing if it sounds like the way you want to. You want to compare It is well compared your mix with another song that you like to mix on , you know, 17. Panning: panning. That's the next thing you want to do. You panning to create death. Basic deficits. Gonna like, give you that stereo mix, that stereo sound. Right. Um, so you might basically want, you know, Pam, for one thing left to right, you know the thing. Like I said, it's all based on what you feel, right. You have to understand that you're a genius. Okay, Once you understand your genius, then all you have to understand is that maybe what you're doing is not right or wrong. And maybe you just need to kind of work on ITM or to make sure you get the proper balance on it. All right, so maybe you like, if you like to paying your obese, that's cool. Just but don't pan every instrument. That was something that I was working. I had issues with my honestly, sometimes the beat sounds great when you do less stuff to it. And you, when you start trying to fix it, fit. Like I said, you're already a genius. So we try to fix, fix it and do so much to it that you could kind of overcomplicate the mix, and that's when it starts getting all over the place. So if you overly acute things or if you overly, you know, saying, um pants means overly overly compressed Onley doing where is needed, you know? I mean, like, it drums. I usually leave all my drums in the center most of the time And I might Pan, you know, that I had a little bit here, you know, to let all right, I might pay in some of the percussion. You know, back in the day. How people used to mix is like, is if you're looking at the stage or a band was playing, you know, saying And usually if you look at that stage, you see there's a band there, right? So you have drums. They might be like, Excuse me. Drums might be right there in the middle. You know, I have a keyboard off to the side. You might have vocals right there in the middle is well, and I have a trumpet player off to the side to the left of the right. The Tar playoff to love, to write based off to the left, right. And so people will bait were mixed. I would I do with makes him back in the day with panting. Excuse me, was this the whole idea with that is time to get the sound of a live band playing. And that was the whole purpose of panic. Don't bet Count paying just a pan, you know, I mean, and then you have to understand that the hip hop, hip hop B you only have to necessarily pan on every track. You know, you might want to do it on some tracks that lately actually sound like a live band. But if you have a lot of sense sounds, usually you want to lead those since down, especially if they're in stereo, just like where they are. And this work on the property, the either property que in or more so more so, the proper levels. So you don't pan all the time, but try pan Indo tunes. This is a trick to similar sounding instruments, hard left or hard, right? Like to horn tracks this play with certain things And, um, yeah, this play with certain things, man this and this just to play with people's ears everywhere, you kind of get creative. If you want to plan people 18. Audio formats: all right, audio formats just want to give you a little bonus information here on. I feel like, you know, having a good understanding of audio formats can really help you when you take your mix of the two the final stages. Which is the course, either The way for the MP three. Um, so let's talk about this real quick. A Kodak Kodak is an hour algorithm or program either encodes or Deco's data in order to, um, convert a foul between different formats. So if you hear people talking about that just noted, basically all of this doing all aquatic is a way for you to take one foul and changing into another okay, or decoded her encoded. So you have, like zipping thousands and a good example, and converting cook fouls is another example. So if you have, like a, uh, you know, one type of foul you wanted to turn into an MP three rice versa. That's that's example of a Kodak that process of that algorithm of doing that, we're zipping fouls. If you want to take away found you wanna bounce it down to or you have a collection of fouls will bounce it down to a smaller foul. You know, Kodak, That's what that IHS Now, um, of course, in logic or any other product software program, you can, you know, create way 1000 our MP 3000. So you might ask what the difference is. They called these things, you know, a lossy Kodak, and then you also have another form of coda. But let's talk about the lossy lossy Kodak is a coded to sacrifice is the quality of the foul for the sake of compression. So an example of that would be an MP three. Okay, MP threes, our lossy codex. So if you ever hear that were lost called occupy okay, every three because it sacrifices a little bit of the original quality of the mix. And if you didn't know that, that's what MP trees do. Um, that's why you might hear you might re Some are certain articles of Mason engineers saying they wish they could go back to like this, but now waves or whatever is because, like when you get that original mix, some of the quality found qualities loss. But every trees keep most of it, so it is all good anyway. Lost list Kodak is, of course, the opposite. It doesn't destroy any data in the conversion or compression process that maintains the best quality. Some examples of lost lists. Um, are you know, waves and wave house. Okay, um let's let's go ahead and go woo vaunted meta data. And, um, this is information about a found at a store within the FAO itself. I e iTunes with sound scan. Okay, Like when you go to your iTunes, you see a song in there and you get you know, all the sudden you pull up the song and you are you can see the sun, the name of the song. You could see the name of the artist who created a song or the composer or all that information. That's metadata. Okay. And you could also use metadata. Which sounds can because basically you have a code, Um, and ar the BDs tracking system. You have a code. If you ever wonder how they keep track or tabs on publishing a lot of size, it's through better data. You see how many? Okay, See, run this code and see where it's been played or how many times. That's how they keep track of it do metadata. Okay, Bit rate the number of bits. Process per second, for example, like MP three as one and 28 kilobytes. Um and that's why you see, like, this is the answer to quality aspect of MP threes. Okay, 128 kilobytes compared to 320 kilobytes. It just means that you're getting mawr of the data in that particular MP three. Okay, Most people go with the 128 kilobytes, primarily because almost systems it plays that MP three pretty simple could pretty easily because not a big foul. But you can on certain systems and especially like online, some some online portals won't even allow you to upload a 320 kilobytes because it's files a lot natural a little bit larger because you're putting more data data into it. So will the time. I mean, you could do like, um, the next step up from 1 20 a. Is 2 56 So you get a little bit more quality, but ultimately the average here's not gonna here Ah, hole out of that. So But it's good to know that you have options so to 56 kilobytes is means you get have more bits, which basically putting more data, more of the original mix or foul. Everything that you had in its original foul when she created it goes into that. So this is just the answer, the question of like man I had when I bounced down my track and I played that MP three offsetting it sounded way off compared to, um, it sounded Wait all compared to where it ridge Ray regionally standing in my studio of my personal studio on my car, Whatever. When I got in the car sound horrible, we'll want maybe maybe you're putting. Maybe the bit rate is not the right one. You know, maybe you need to get more of that more of the quality of what to 56? Um, KB's. You know, it's just different things to think about. Let's keep moving. Um, and logic. There's a setting, um on there's V B R versus, you know, or CBR if you see that setting. Basically all we are is variable bit rate compared to constant but rape. And I suggest using variable bit rate because variable uses the higher bit rate to in cold and provides more room for the more complex parts of the audio foul, whereas constant stays the same. But it doesn't do that. So what that means is this. As you know, it makes scene the reason why there's no concrete way of doing it, because there's no con. You know, you get different types of music and different. Every song is different. Every beach you created different, every instrumental is different. And so, um, variable bit rate basically is going to come. I couldn't say for the differences that you might hear. And so, you know, one track might have more dynamic grains in another. And you know, if you do a constant bit rate, it can kind of kill that compared to a variable bit rate where it will be, you'll catch all those different nuances if you will. I let's go back to way fouls. And I'm pretty sure you heard of this ai f f foul. You know, you're like, What the heck is that foul? What do I do with it is OK for me to use it. Well, both AARP impressed are un compressed and both for lossless formats. Um and they're both the best quality because they hold all original data. And, like I was telling you before in Kodak's, basically Kodak is an algorithm basically in Cold Deco's the audio example of that would be algorithm which makes in victories or ways or, in this case, I f efs, um, again, recapping you have lost e Kodak's was compromise is the quality in order to give you a smaller file size, which is the MP three or lost list, which doesn't compromise the quality because it gives you the basic original data. OK, I f A i f f and waiver the same file. There's just one, uh, was developed for apples. Um, operating system and wave was developed for PC. So that's that's the answer. That question Apple created his own, you know, to be, I guess, to be the next best thing they say, You know what? You know PCs, they have way fouls. We're gonna make our own thing. We have our own apple wave type foul, you know, mean, that's all of these. But the cool thing about it is they convertible compatible on both operating system so you can pull away fell into an apple computer and you can pull a A I f f allen toe into a, um you know, PC. So if you're running a different type of programming, you someone send you on a I F f foul, you know? OK, then I can use this boat. Um, it's probably better to just go ahead and send waves if you're working with somebody else just because most people know waves are. But if you're like working with yourself for working with the other people who have apple compote computers or apple products, then you can maintain the quality when you use a I. F. F ows is a slight difference, but not too big. You know, his apple will be mastering or editing ai ff fouls. You know, different things like that. So is not a whole I. I just wanted to just basically give you a brief overview of audio 1000 helpfully that would do help you in your, you know, bouncing down things and getting your tracks out there 19. Boucing Your Tracks: all right. Next thing is bouncing down your track. Basic the process of turning all your tracks into in your makes into a single stereo track . Like either a waiver MP three found. This is basic stuff here, right? Give you be the name and then bounce it down to your desktop so you can easily find it. Always bounce everything down to my desktop because if you don't, sometimes you can get lost in the sauce like, Dude, where's my beat? I don't even bounce it into the internal photo of my software. I just always bouncing to my desktop. That's a key tip, so you always found it. Find it. So you know, as you're about to bounce it, just selected to go to your desktop, you'll be easy. 20. Compression Tips: compression. Can you know either help you to get a awesome mix or kill your mix real quick? Okay, real quick. So, um, I stand behind this circuit. I'm gonna tell you, I've said it before. You start with the presets, okay? Stumped with this process Will say if you're mixing your kick drum and that's that's what I usually use compression on. I use compression on my kick, my stare. And sometimes I put it on high hats and different things like that. And usually what I do is I do a compression toe where it's it boosts the signal, usually boost a single cause. That's what compression does. Is it boost? The low sent signals are low, the low sounds and a attenuate, sir, you know, decreases the smaller sounds louder sounds. So it's kind of glues things together. So if I have a kick, this kind of hitting in there like basically really kind of soft, I've found it, you know, when I go to certain presets and once I found a Capri said that really works. I will work with that. But then I would bring it. Bring the lash will level down because sometimes, if you keep it there, it could be going into the red. And remember, you don't want it, Teoh do that period ever. Um and you make so make sure that whatever you do to the compressor to that you compensated . So like I said, if you compressing it and it sounds too loud, turn it down some. And so that's what it's all about. And so this that's another thing, too, is when using the presets or starting off with those you might want to just think about this putting a basic compressor on there without, you know, like a certain type of name. Or, you know, like so pressure that drives hard or whatever. Just a basic impressive. You know, Mayor Ben Imam effects to it and something that this kind of that gives a basic squeeze or basic glue to the track and ah, and then work from there. You some saying because, um, I've found out certain tracks, depending on you know, the instruments that I used in that track, you might not need a hard compression on your drums or you base or whatever, and sometimes you just need to add just a little bit and so is really based on each individual and each individual track. That's why I say this mixing this all about, um, adding balance. You never know which balance you're gonna add until you get the ingredients, so to speak. You know, san, you can't like, bake a cake using the same ingredients If you have a chocolate cake. He had a, you know, used ingredients. Different temerity. We have a lemon marine cake, great rpai. So he's beat or your song is different, you know? So keep that in mind. We added compressions, not always need it. And that always needed heavy compression, not always needed. But sometimes there is. But that's for you to like I said, as you using your reference tracks, I want you listen to you to the kick that you hear in theirs. Did that in that particular professionally mixed song and see like, Wow, does this kick sound like my kick? Does it sound like, you know, overly compressed? You know, you can hear those things if you really pay attention, but yet I hope that helps hit me up with your questions.