Mixing a Hip Hop Vocal | Daniel Lane | Skillshare
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7 Lessons (44m)
    • 1. MIXING BOOTCAMP: INTRO

      1:30
    • 2. MIXING BOOTCAMP: LEVELS

      6:25
    • 3. MIXING BOOTCAMP: EQ

      10:43
    • 4. MIXING BOOTCAMP: COMPRESSION

      8:35
    • 5. MIXING BOOTCAMP:DE-ESSING

      5:08
    • 6. MIXING BOOTCAMP: REVERB

      9:58
    • 7. MIXING BOOTCAMP: CONCLUSION

      1:22
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About This Class

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Daniel Wallace takes you through his step by step process for mixing a vocal using EQ, compresion, reverb, etc. 

I am so happy to share what I have learned over these few years and maybe demystify some things when it comes to mixing Hip hop. I belive that all you need is the proper fundementals to gain the confidence to go out and start a carrer of mixing your own Hip Hop hits. 

I will be sharing in these steps:

Introduction (Who I am and what you need for the corse)

Levels

Cleaning Up Your Vocal

DeEssing Your Vocal

Compressing Your Vocal (Or Not!)

Adding Space

I hope that these classes will provide a good foundation for any producer of any genre, ( I just happen to mix Hip Hop mostly) and open up a new world of exploration.

I will be using the newest material I have to help you. We will be looking at a song I produced and rapped on called "Fight The Power."

Students will have a chance to load wave files into the daw of their choice, and EQ, compress and add reverb to acheive a studio quality recording. 

 

Transcripts

1. MIXING BOOTCAMP: INTRO: Hello, My name's Dan Walles. I worked with The Lion's Den Productions have been doing music for over 10 years. As a producer and an engineer, I have recently graduated from the Los McDonald's Recording Institute. And I am also a live sound technician as well as a recording enthusiast and want to be able to share some of my experiences with this community so that we can make better mixes, boost self esteem and get better music out there. What will be using today is levels or gain attenuation e que to clean up a vocal D s ing, which is a type of compressor that's focuses only on SS and teas, compression, taking the soft parts and allowed parts levelling them out and then bringing up overall volume and then revert. The project will be very simple. We'll take a vocal and they beat match that vocal to the beat and then use all of the aforementioned processes to make it sound like a radio ready or mastering ready song. So if you're ready, I'm ready. Let's jump in and do this time 2. MIXING BOOTCAMP: LEVELS: All right, So first things first. Um, if you haven't already, go ahead and download these two clips from the link. When you're opening up your session, just make sure that your tempo is set to 1 25 in case you want to do anything creative, like chopping or anything like that is totally up to you. I myself just when I started project I like to open it up in the bpm that I'm in because it makes editing easier. All right, so we got two clips here. The blue one of the top is your beat the green. One of the bottom is your lead vocal. Now, just for the sake of the class being fast, we're not gonna level Andi Q and compress. Every type of vocal will go into doing overdubs singing vocals. So the singing vocal and the overdubs air actually layered into the beat. That's not normally how it happens, but just for the sake of the project, I just need you guys to go ahead and work on the lead vocal download those bring them into your doll, your digital audio workstation. And the first thing we're gonna do is check the Master Butts was this 123 down here for any clipping from our music. And if we have any clipping, then we'll bring it down. So I'm gonna start by soloing out this beat portion, and then we're just gonna check to see if we have any discrepancies or any peaks that are making army to turn red so we could turn down the entire thing. Pain. I'm seeing the rain come down. The people definite sees that, Dylan a piece. It's funny. Your murderous home. You You You right is looking pretty good. No different dogs may be different when it comes into yours. You may have those peaks. So that's why I want you to practice putting that in listening and making. Sure. All right, I'm gonna start with the lead vocal. I'm not gonna start off. I'm gonna listen to the lead vocal. Next tycoons want to slave you five Ogbonna Caju just to enrage you. Did I mentioned attention is racial? The devil has worked to disgrace you, But it ain't the man in the suit stuff. Hey in our faces and get with the truth. I can already tell by looking at my first peaks that these are my loudest peaks and going down the line, it's not gonna get much louder than that. So I know I'm not going to get the red my master bus at all. All right, So I'm now I'm gonna listen to the lead vocal and the beat at the same time. The pain. I'm seeing the rain come down on my people at a definite sees that still in that case, is running murderers home slave. You want you just to write you Did I mention attention is ratios. Double has worked with great shoot, but it ain't faces with true the devil being around way way All right, cool. So one of the things I definitely want to do is I want to match this lead to this singing part here, come down The people that definitely sing songs like rapping kind of thing. And another thing is, I want I want my lead vocal to match the snare as much as possible. Listen to how this singsong he first sounds with the snare in a back and kind of a comparison. Come down, my people definite sees that still, in that case, it's money and murderous homes. They kind of like on the same level. So I want to do the same thing with my vocal. So let's go ahead and go in. Let's go ahead and just take out a segment and it will just match. Slave, you 50 k You just write your you Did I mention the tension is ratio slave, You 50 k You you just to write you that I mentioned attention is ratio tycoon to slave. You 50 k you you just to embrace you. Did I mention the tension? Is Rachel slave you? I think that's pretty good. Now there is a part where we can get a riser effect in the middle of this more than been around long established with power bi definite way. All right, so I can definitely hear where we're probably gonna need some compression. It may be a boost at that part for right now, I'm kind of happy with words that just when you see, I'm making the comparison to the snare of the clap bringing it up. So let's listen to it from the beginning. The pain I'm seeing the rain come down on my people at a definite sees That's killing. That peace is running your murderous homes. Tycoons, slave! You wanna Caju you just to win, right you did. I mention the tension is right shoulder. The devil has worked to this great shoe. But it ain't a man and faces and withdrew. The devil is more than being around weight. Let's go ahead and clean up the vocal and move on. 3. MIXING BOOTCAMP: EQ: all right. So the next thing we're gonna do is we're gonna focus on cleaning up the vocal, taking out any type of rumbling noises that we may hear to try to lessen. The headphone noise is one thing that you'll get a lot with hip hop vocals and maybe accent certain frequencies of the voice that can bring the vocal out a little bit more like something in the two K or even something that we could take out or put in in a 250 Hertz range. I'll go ahead ing give you an idea what that is, But the first things first with e queuing, we want a high pass filter. So let's go ahead, and I'm gonna use my waves plug ins. But you can use the plug ins that come in with your doll like the e Q. 37 bam. But I just I like to use my waist plug ins because I paid for him because they're good. All right now, one thing that I do is it's just weird of me, but I just do a high pass filter on his own. So what I do is I'll come in here on my wave z Q one and I'll find my high pass on What is the high pass do? It's exactly what it sounds like. It's allowing high frequencies to pass and not allowing low frequencies to pass. That's good. Especially if you have something like rumble or room ambiance in your mix. So we're gonna solo up the vocal. We're gonna take a listen to it, Tycoons want a slave, you 50 gonna caju just to embrace you. Did I mentioned attention is racial? The devil has worked to disgrace you, but it ain't the man in the suit Stop a in our faces and get with the truth. The devil is more than a look. Sounds really good. You know how I know? First off, because I recorded it and to me singing. But honestly, sorry pushing the wrong buttons here. If I go to any one of these quiet parts, the devil has worked to disgrace you. But it ain't the man in the suit Stop Hey in our faces and get with the truth. That could be because somebody put automation on the vocal already and brought out all the background noise. That's great. if it's not happening, all you have to do is go listen to those parts and you'll hear headphone noise or whatever else ambient noise. You'll know what you have to get rid of. So it's actually funny to think that if you go to those silent parts, you can actually find your troublesome spots. We sound good. So I'm gonna go ahead and activate my high pass filter. Now, I'm gonna show you exactly what a high pass filter does by just picking out a single segment here just to win, right? You did. I mentioned attention is racial and I'm gonna sweep down and I'll show you how. Ah, high pass filter effects of vocal just to win, right you did. I mention the tension is racial. Just you see how it cuts out all those lows and leaves the highs remaining in the frequency band that you choose. Now, of course, we're never going to really take it up this high into the four k seven K range. But it's just to show you what a high pass filter does. Let me eases down. Usually I'll go somewhere between 80 and 150 Hertz. I'll start down here and it's basically like I don't want it to sound unnatural. I just want to get rid of low rumble. Um, sometimes you have those really loan? Sometimes. A lot of times, most of the times and hip hop. You got those low Basie notes, them kick drums, and so you want to go ahead and separate not only your vocals, but your instruments away from that frequency spectrum and give that room to those elements . I'm gonna go ahead and play it. And just to win, right you did. I mentioned attention is racial just to embrace you. Did I mention the tension is racial Just to win rate? You did. I mentioned attention is racial just to win, right? You did. I mentioned attention. Is Rachel just to win, right? You came here like that. Very subtle difference between 250 and where I bring it down to, like, you know, one one. 31 50 around there. It's the presence of it. So I have to be real careful. So I took it to a place to where it sounded natural and then backed it up just a little bit more because I didn't want to lose that presence just to win, right? You did. I mentioned attention is racial just to win, right? You did. I mentioned attention is racial just to win, right you Did I mention the tech? Alright, that sounded pretty good. Let's do a bypass to see if we can really notice the difference just to win, right you Did I mention the tension is racial just to win, right? You did. I mentioned attention is racial just to invite you Did I mentioned attention is racial. You see, a sounds tighter. That's all we want. We don't want to kill the vocal. We just want to tighten it up and get those frequencies out of it that are not necessary. Now, I'm gonna go in with, um, a que for And I'm gonna do a couple of frequencies here. I'm gonna use this number four, and I'm gonna do, um, a shelf Ah, high shelf, which allows me to lift up frequencies after a certain frequency. So let's say, um I want to do, like, a three k shelf to put a little bit of brightness into the vocal to maybe get it to cut through a little bit more. I'm just gonna type in 3000 here. And when I say K, I mean kilohertz, which is 1000 Hertz. Or you could say 3000 hurts. Are you saying three? Well, how you say, Yeah, 3000 hertz or three kilohertz. So you had a doubt myself for a second right there, just to make sure I'm giving you all the right information. All right, so at 3000 kilohertz with a shelf, what I'm doing is I'm going to amplify anything after 3000. Hertz. What? I'm looking for us to put a little bit of more air and a little more cut into the vocals. But we also have to be very, very careful because putting too much could be very shrill and bad for the ears. And you're mastering. Engineer might hate you. You wanna be. I know. How do you say you want to be cautious? How much you put in? You want to use it sparingly so that you're not getting your track sent back to you to take that out. All right, so let's I'm gonna bring up the gang quite a bit so you can hear what it sounds like. And then bring it into a place where I think it's good just to win. Right? You did. I mentioned attention is racial just to win, right? You did. I mention the tension is racial just to embrace you. Did I mentioned attention is racial just to win, right? You did. I mentioned attention is racial just to win, right? You did. I mentioned attention. Will am be it just to win rate. You did. I mentioned attention is racial. Just to enrage you is very subtle. But if you listen for it, it's a little brighter just to win, right? You did. I mentioned attention is racial just to win, right? You did. I mentioned attention is racial. There's just a little bit more air in there now. Another frequency I'm hearing right now is there's a little bit of muddiness in there and a lot of muddiness for the male vocal Lay somewhere at 250 hertz. So I'm gonna go ahead and take number three here. Except that the 2 50 it's somewhere around there. You gotta play around with it. So I'm gonna do is I'm gonna bring the gain up a bit. Turn it on and animals sweep and look for that muddiness in the vocal. When I find it, you're going to know what it iss just to win, right? You did. I mentioned attention is racial just to enrage you. Did I mention the tension is racial Just to win rate You did. I mentioned attention is racial. Just to win rate you that I mentioned. Attention is racial just to win, right? You say it's there. Very close. I'm gonna bring it down a bit and see if that doesn't clean up the vocal bit just to win, right? You did. I mentioned attention is racial just to win, right? You did. I mentioned attention is race just to win, right? You did. I mentioned attention is racial just to embrace you. Did I mentioned attention is racial just to win rate. You did. I mentioned attention is racial. Cleans it up just a little bit. Now I'm gonna bypass the whole e que to see if that's changed. Any of the gain that I had on the original track just to embrace you Did I mentioned attention is racial just to win rate. You did. I mentioned attention is racial. Just it sounds pretty good. Let's hear it with the track just to win, right? You paint. I'm seeing the rain come down. The people that definitely is that still in pieces Running and murderous homes Tycoons Slave You 50 k Do you just to win, right? You did. I mentioned attention is ratio show the devil has work to great shoot. Let's hear it would out actually activism boots without the two tycoons slave you 50 k Do you just to break you Did I mention the tension is ratio show the devil has worked in his grace And with I want a slave You 50 k you you just to write you did I mentioned attention is ratio The devil has worked to this great shoot. Now here's the thing to consider before we move on to the next session e queuing Your vocal is not only to make your vocal sound good if you noticed because I high pass filter this The beat is breathing a little bit better to in the Lohan and it's fitting in better just because it's not hogging up that frequency spectrum. The vocal was also sticking out a little bit more just because a little that little bit of shimmer that I added with that three K shelf, something to consider. All right, go ahead and try it out. And then we're gonna move on to the next day. Are you? 4. MIXING BOOTCAMP: COMPRESSION: All right, now, welcome back. We just finished. E queuing are vocal, and now what I want to do is add a little bit of character to it. What I'm gonna do is I'm gonna bring in a compressor. I'm gonna bring in one of my favorite compressors the distress or compressor or the distress er plug in the S O. R. Eight by Penn Sadiyah. Now, what this is supposed to emulate is the distress, er, hardware that you'll find in a lot of studios. And basically, the distress er is known as pretty much the Swiss Army knife of compressors because it knows how to mimic other compressors Very well. The other thing that I like about it is that it's just got this nice, like saturation distortion that you can put on top of your vocal to make it just a little bit more gritty, but still maintain that that good sounding vocal like it's not so gritty of as like putting ah, the guitar distortion on it or something like that. So I'm gonna do is I'm open up an instance of the S o. R a. Go to my dynamics because the compressor is a dynamic processor. Check it out. You're gonna put on your S O R a which you confined from Penn Sadia for, like, 10 books. It's a good deal. You're gonna hit play, and you're not going here. No vocal. You, you You okay? That's because you need to turn to compress the Rhine. All right, A 1 to 1 ratio. Nothing's happening. Okay, so I I usually go to a 2 to 1. Although if you go up to eight toe one ratio you see this Opto light comes on a lot of times I use that one too, because when you're using an Opto compressor, you're mimicking something like l a two way compressor, which is really great on vocals because it's it's a very soft touch. Today, I'm gonna use it to the one All right now, in order to engage the compressor, I need to go up on my inputs on will start off on a low five and I'm a hit play just so that you can see we're still not gonna hear anything. But I want you to be able to see the l e. D. S here working. See that? Just a touch. There the warning to. All right, now I'm gonna bring in my out. The devil that's more than the loopy been around longer than dinosaurs doing his kingdom established was sent at the root, empowered by definite things that we do. Oh, my jewels. I'm gonna bypass to see what my original gain was because I've left it for a while here, messing around with this thing and see if I'm coming in close. Tycoons want to slave you 50 clinic age, you just to embrace you. Did I mentioned attention is racial? The devil has worked to this grace. You just a little bit of great. Now, if I want to bring some more grid in, I'm gonna go ahead and push my input. Tycoons want to slave you 501 occasion just to enrage. Oh, you hear that? OK, that's a little too gritty, but fear not. If you mess around with the attack, which is how fast that compression is gonna happen, you can lessen up some of that grit. Check it out, Tycoons want a slave? You 501 occasion just to enrage you. Did I mentioned attention is racial? The devil has worked to disgrace you, but it ain't the man in the suit stuff. Hey in our faces and get with the truth The devil That's more than the little people been around longer than dinosaurs. Don't his kingdom established was sent at the root empowered by definite things that we do with me is that we bring it on J 114 twisting your arm, we will against kingdoms of darkness distinguishing fire read or we break in The port developed has covered the eyes of the heart to bring in the gospel that sets of a book on my hit that I didn't You see I had to come back on the attack because I didn't want to lose all of that compression that was happening. You see, when I grow up on the attack, I'm not getting any l e ds. So that means I'm not getting any compression. So I went ahead and came back a little bit, and we're gonna do is I'm gonna hit this release, which is how fast the compression is coming off of my track and kind of leveling it out like that. Tycoons want a slave, You five Ogbonna Caju. Just to win rate. You did. I mentioned attention is racial. The devil has worked to disgrace you. But it ain't the man in the suit stuff. Hey in our faces and get with the truth. The devil that's more than a little 50 been around longer than dinosaurs. Don't His kingdom established was sent at the root, empowered by definite things that we do. Oh, women's that. We bring it on J 114 I ain't twisting your arm. We will go against you. That compression happening, right? It sounds a little squished, right? Let me bypass Tycoons Want to slave you 501 occasion just to embrace you. Did I mentioned attention is racial. The devil has worked to disgrace you, But it ain't the man in the suit stuff. Hey in our faces and get with the truth, That sounds a little bit squish. Another thing that I noticed is that my s is on. My teas are becoming really pronounced now when using a compressor, you've got to realize this, which is why we're gonna go into the next segment. But when you compress something, what you're doing essentially is your bringing down the peaks of the loudest parts of your material and then bringing up the soft this part well, what's soft and loud at the same time as is Indy's Close ITV's You know, P's and B's that. Sorry to do that to you. Um, so we're gonna go ahead and turn this dial to send a little bit with the beat, bring it up to a proper level, and then we'll move on to the next segment, which is a D s in. Yeah. So let's let's listen to it. In the context of the beat, the pain. I'm seeing the rain come down that my people at definite sees that still in the running your murderous homes tycoons want a slave. You five communicate you just to embrace you. Did I mention the tension is racial? Devil has worked to this great shoe, but it a command and up in our faces and get with the true the devil. That's more than the been around longer than his kingdom established within the group power bi definite things that we do with that we bring in their own 114 Twisting your arm. We were against Kingdom of darkness, distinguishing fire dark We break in the port the villainous cover the eyes of the heart to bring in the gospel that sets him apart right standing with God in the world in the power creating in the park with the kingdom of Heaven And Gloria God, Glory of God, Glory of God! All right, so you see, I brought it up a little bit there. Although it looks like we might have some problem with the master bus. Lis, take a look again. Tycoons want a slave, you 501 occasion just to embrace you. Did I mention the tension is Rachel? The devil has worked to disgrace You put it a commanding up in our faces and get with the truth the devil This more than the been around longer than dinosaurs doing his kingdom established within at the root him power by definite things that we do with that were bringing it on 114 Twisting your arm, we were against Kingdom of darkness distinguishing fire me dark We break in the for the building This cover the eyes of the heart to bring in the guy. I feel that sense of in this part of the Kingdom of Heaven and got a little red is okay. If it was, like, steady read, I might be a little bit of worried, but it's sounding good with the snare. Someone let it right. All right. It don't gotta be perfect. Don't trip. We're doing compression. We did it. So what did I do? I used it to squish down the loudest parts and bring up some of the softer parts. I used it for character to put a little bit of grit on the vocal. And then I brought up the makeup gain or the output of the compressor tomb or match the beat. Now we starting to sound like we sitting in there. Okay? But I said those those little things that we need to fix. Let's move on to the next part and fix those things. You're still with me. All right, let's row 5. MIXING BOOTCAMP:DE-ESSING: All right. What's up? Yeah, here we go again. We did our Q. We did our levels. We did our e Q And then we did our compression. Like I said, some of the things that you need to think about whether doing live sound or doing studio recording is that when you put that compressor on, what you're essentially going to be doing is bringing down those loud parts and bringing up soft parts of your material. Some of those soft parts that come up naturally are the essence and the tease, the siblings, the PLO sieves. So what you got to do now is you got to come in with a different type of compression amore , intricate, precise compression that we call a de Esser. Let's go ahead and bring that up. DSR Sounds just like the name. I'm gonna use the actual di essere. Uh, that comes with pro tools, actually. Really like this thing a lot, ds Or what does this sound like? D s ing getting rid of SS? Also tease Also, you can set a d s or to take like like a shelf to get rid of anything after a certain frequency. What we want to do is we want to catch the s Is aunties in the vocal performance. So we're gonna solo it out. Take a listen, tycoons want to slave you 501 occasion. All right, so when I hit this list and button, right, what is what is gonna do is it's going to allow me to listen to the frequencies that I am going to get rid of. So I'm gonna hit that listen button and begin to sweep in this frequency spectrum to find those s is e like this part right here. I'm gonna select it because I feel like it has a lot of s is in it. Just to break that I mentioned attention is racial, Do you? Attention is just mentioned. Attention is racial tension. Okay, Whether or not you know that you're doing your DS ing right is when you listen to those s is back. If you put the range up pretty high, those essence will begin the slur. So let's see what we got just to win, right? You Did I mention the tension is racial just to win, right? You Did I mention your just just it literally made a slur. Let me solo it. Listen just to win, right? You did. I mentioned attention is racing down just to win. Right? You all the way up just to win, right? You just to win, right? You just to win, right? You all right? I'm going to bring it down and like some low Like to see what that list here's like. Here's like Sounds like my vocabulary is wonderful today. Tycoons want to slave you five Ogbonna Caju just to embrace you. Did I mentioned attention is racial? The devil has worked to disgrace. You tycoons want to slave you 501 occasion just to embrace you. Did I mentioned attention is racial? The devil has worked to disgrace. You tycoons want to slave you 501 occasion just to embrace you. Did I mentioned attention is racial? The devil has worked to this grace. You all right? And then And with the beat you might have noticed that I hit this high frequency only See if I don't have high frequency. Only I get this shelf across the spectrum which you know doesn't really matter to me all the time. But I just want that frequency. So it hones in on that frequency and doesn't affect the other ones as much. Let's listen to it within the context of the beat, the pain of seeing the rain come down that my people at definite sees that killing that peace is running and murderous homes. Tycoons want a slave, you five Ogbonna Caju just to embrace you. Did I mention the tension is racial? The devil has worked in this great shoe, but it ain't demanding up in our faces and get with the truth, the devil this more than the look. Yo, I think we're sounding pretty good. It's starting to sit in there. It sound great. So the next thing I want to do is add just a little finishing touch to their vocal, and we ready to ship it off. You already. Come on, now, let's do it. Last day 6. MIXING BOOTCAMP: REVERB: all right. He also the last step is to give a little space to the vocal infinity and beyond. Not that wasn't funny. Anyways, um, reverb. What is reverb? Reverb is a time based effects that assimilates a different type of room and a room size. So, like when you see hearts like a great big hall in a great big building with all of the echo effect that ah hall would provide or cathedral or whatever else you have so many different types of flavors of reverb. Um, you know, rivers that run off of impulse response is a convolution river, which allows you to take famous places and bring them to your d A W. Um uh, what I'm gonna use is just that it's a convolution reverb that comes with pro tools 12 called space. The reason why I like it is not because it has, like, all these different buttons where I can, like, go into different places with it, which you can. But what I like about is his controllability and that I can understand it. Um, I don't know if I'm the brightest bulb in the shed or whatever else, but this just seems intuitive enough for me to make it sound the way I want it to. All right. But another thing for me to have to come for me to consider when using this is that I have a wet and a dry signal right now What is all the way up? So when I play it, all I hear is a wet signal. So what I need to do is I need to match my dry signal first on this. Check it out. I'm a bypass it, and I'm gonna bring up this dry signal toe. I think it's gonna want a slave. You 50 k You just to win, right? You did. I mention the tension is racial. The devil has worked to this great shoe, but it ain't gonna bring this wet down so I can hear too dry. And tycoons want a slave. You five Ogbonna case you just to embrace you. Did I mention the tension is racial? Devil has worked in this great shoe. Put it a two man and stuff, you know, faces talk about a good first try. I guess I've been doing this for a while. All right? So that sounded pretty sounded pretty good. What I have here is a few choices. I got churches, rooms, chambers, plates, springs, digital reverb, whatever you got all these different choices. What I'm gonna go into is probably I like holes, and I like plate. You gotta think about the song. This is kind of like a spacey, spaced out song. Um, with a lot of swelling and a lot of openness in it. So maybe I went I might want to reverb with a pretty long tail. Maybe not. We'll just have to see what it sounds like. So I do like plates. But maybe I want to start off in the halls. All right. And look see, this is a convolution reverb. So this is the hole that we have. What's it called? I can't pronounce that concert. Gamegoo is, ah, famous concert hall. So I might have a really, really good sound for this track because I want a reverb that's nice and open. If I want to hear what that sounds like, I just need to bring up my Western slave. You 501 in case you just to win, right? You Did I mention the tension is right shows the devil has worked in great slave you five when it cames you just to win, right you did. I mentioned Attention is racial. The devil has worked in this great shoe. Who? Here's a cool little tip for you to just think about when you're using reverb and using a river black space. What I can do is I can go to this reverb setting and I have high frequency gain and low frequency and gang, and I could even add a little more sparkle and shimmer to my vocal than before. Now be careful because you added a little bit at four K Daniel talking to myself and you guys out there. So just be careful how much you eggs. Like I said, when you give it to the mastering guy, maybe sometimes you don't want it that shimmery because he has better equipment for doing that. But if you are having some struggles with getting a little more shimmer for your for your vocal to punch out a little bit more, think about that. Now. Let's take another look. Oh, no, I don't want to reset. Let's take a little look at these levels here and Let's kind of look at what these early and late, uh, levels do Tak tycoons want to slave you five vote when it cames you just to embrace you? Did I mention the tension is racial? The devil has worked to disgrace you, but it ain't the man in the suit stuff Hey in our faces and get with the truth. So my early level works with how much reverb is coming back to me first and and and mostly on the beginning of words. And in this case there's not a lot involved in this reverb. It's very hard to hear. Most of it is coming from this late. I also have early settings here, and if I look, it's not a whole lot going on. I wonder if I move this. Let's check it out. Let's see what happens Removed early tycoons want to slave you five Ogbonna Caju Just to embrace you. Did I mentioned attention is racial? The devil has worked to disgrace. You is very subtle. Like I said, not a lot going on there. A lot of it going on in the late. So let's bring that later. Tycoons want to slave you five Ogbonna Caju just to win rate. You did. I mentioned attention is racial. The devil has worked to this great shoe. But it ain't the man in the suit stuffed in our faces and get with the truth. So you see how the reverb is. Adding that spaces is making it sound like you're sitting right there in that concert hole on this stage and you're getting all of the reverb that that room provides. That's what makes a convolution great. Is that you can take this famous sound from this place and added to your vocal, Let's bypass tycoons want to slave you 50 k juke and back on Tycoons want to slave you five Ogbonna Caju just to embrace you. Did I mentioned attention is racial, monsieur, with the beat. And see what that Taylor's sound online and why by tell, I mean like, how much reverb is happening after the word has been formed and spoken. And how much of that that tell Like what's left over of that reverb? How long that echo drags out slave You 50 k Do you just to embrace you? Did I mention the tension is racial The devil has worked to this great shoot because what I want is if I'm listening to the song. That's kind of spacey like this from one word to the next. I kind of want my tell to lead out to that next word or that next snare. So that just doesn't have, like, this abrupt, stopping sound. That's the delay. If I want a delay, then that's what I do. But in this case, I just want something that's smooth that will help that vocal toe not only have more room in it and sound bigger, but also transition from one phrase to the next. I want a slave. You 50 k you you just to win, right? You see what happens if I shorten up my okay, tycoons want to slave you 50 gonna cage you just to embrace you? Did I mentioned attention is racial? The devil has worked to disgrace you. My room got smaller and more condensed. Let's see what that kind of sounds like in the mix. I want a slave. You 50 k you just to win, right? You did I mention the tension is racial. Devil has worked in this great shoot slave. You 50 k Do you? Just to them, right? You did. I mentioned attention is racial. Devil has worked in this great shoe, but it ain't demanding up in our faces and get with the truth. I feel like the shorter the decay is cool and the vocal sounds present. But I really feel and feeling is a big part of mixing that the longer decay really glues it in. So there you go. We went from e que in compression ds and compression to revert. And we were able to take a vocal track that was given to us and make it fit into a song and be ready to go to the mastering facility. A. It's been cool doing this mixing with you guys. I hope you gain something, um, within the community. Go ahead and shoot your questions and projects. And I look forward to hearing what you guys are doing. Not only with these clips, but with your own projects. You don't have a great day. Get out there, get mixing periods, Slave. You 50 k Do you just to embrace you? Did I mentioned attention is racial? Devil has worked to this great shoe, but it ain't a man and up in our faces and get with the truth with devil. That's more than the movie. Been around longer than dinosaur his kingdom established with the group powered by definite things that we do bring it on 114 twisting your arm. We were against Kingdom of Darkness. 7. MIXING BOOTCAMP: CONCLUSION: ale. So there we have it. Um, what I want to do next is I want you. If you haven't already download the way files loaded up and used these processes to get that voice into that track. Ready for the master of facility also within the community if you want to load some projects of your own If you want to put links to your soundcloud, please go ahead and do that. This is also a community where we could talk. Hey, maybe you have some advice for me. I love advice. I love collaboration. That's what this business is all about. If you're not ready to collaborate, you might not be ready for the music business S o a. Get those way files, get mixing. Put him in the project gallery and less talk. I'll be going over everybody's project talking about some things that I like talking about some opportunities for improvement. A man. I hope you enjoyed this class. Please stay tuned for more classes coming down the pike. Let's get mixing. Let's make good music and let's get it out there. Peace