Music Production for Beginners - Your first mix with Cubase Elements | Joe Ghalbouni | Skillshare

Music Production for Beginners - Your first mix with Cubase Elements

Joe Ghalbouni, I aim to teach in a fun and useful way!

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11 Lessons (2h 26m)
    • 1. Part I - Noise Removal

      8:33
    • 2. Part II A - Vocal EQ

      6:04
    • 3. Part II B - Piano, String and Pad EQ

      7:32
    • 4. Part II C - Drums EQ

      12:37
    • 5. Part II D - Guitars EQ

      8:41
    • 6. Part II E - Blending EQ

      28:39
    • 7. Part III - Panning

      9:52
    • 8. Part IV - DeEssing

      6:48
    • 9. Part V - Compression

      14:14
    • 10. Part VI - Reverb

      9:55
    • 11. Part VII - Automation

      32:47
21 students are watching this class

About This Class

Are you new to music production ? Are you frustrated that your compositions are not sounding the way you thought they would ? Then this is the right course for YOU!

LWP takes you through a simple step by step approach, in order to get you familiarized with the world of music production. 

In this tutorial I am gonna show you how to easily create your first mix with Cubase Elements, along with professional Waves and Izotope plugins.

The sections are divided according to the following skills:

  • Noise Reduction
  • Static EQ
  • Panning
  • De-Essing
  • Compression
  • Reverb
  • Automation

Transcripts

1. Part I - Noise Removal: Hello. Welcome to tutorial number three from the Cuba. Siri's off learning or practicing in this tutorial, I'm gonna teach you how to do the mix off a full song, just like I do at my own home studio. Now, keep in mind that this tutorial is gonna be a bit different from the previous ones since it would be divided into several parts. The first part I'm gonna be dealing with today we concerned noise reduction for a vocal track or how to remove any ambient noise as much as possible from your own vocal track. You should keep in mind that your microphone, as good as it is, will pick up noise. And you need to use plug ins in order to have the cleanest sound. Boston first. I'm gonna go to file open and choose the tutorial project from the folder that you can download in the link in the description below. So within this folder you will have all the exported audio tracks as well as the project fight. Here in this project file, you can see that I have all the tracks needed for my mixing from the vocals Strings ensemble as well as piano and Pat. Those three were recorded through my MIDI controller. I gave them the sound that I wanted exported them as wave. I did the same thing for the drums. However, I made sure that each part off the drum, the kick, the snare, the toms high hat at the symbols were exported separately in order for me to have a better way to dealing with CQ later on. As for the base, it was recorded using an electric bass. Same for the guitars, the solo and the acoustic guitar. Now I have kept two tracks for the guitar solo one without the effects, one with the effect. I'll be explaining that in another video later on. Now, regarding the vocal track. As you can see, I have recorded first Amano drug, then exported it as a stereo vocal track. So all the plug is that I need to apply. Need to be stereo plug. It's no when it comes to plug ins. I really strictly and strongly advise you to invest as much as possible because that's what will make your makes very different. That's what will bring the quality into your mix. In my case, I have both several packages off plug ins. One of them is the waves plug in that contain many beautiful and wonderful tools in order to make my mix really sound the way that I wanted to. So in that case, for the vocal Strack, I'm going to choose from the restoration lab, the Z noise, stereo plugging. This is a plug in from the Waves company that will allow me to reduce the noise as much as possible. I'm gonna make sure my vocal track is solo selected. I make sure also that it was selected once I used the plug in so that it wasn't applied to any other track. Of course. Now, as I hit the space bar, the play. I can start seeing certain signal right there. Read signal. Okay. Which is followed by a green signal. And as the vocal start, Aziz, the vocal started. You can see that there's a certain white line right there which is called the trash whole line. The threshold should be lower than the signal wants. The singing or talking has started, so I'm going to get back here. I'm gonna be ready to lower it. Once the singing has started. I also have to make sure that the noise signal is still below the threshold. Once I have started the track now I'm able to add a noise reduction component. So the noise reduction component here appears in the green signal, so I can reduce as much as possible here. As you can see, the sound is not that clear. E need to lower it a bit because in case I make it to high, look how it sounds. There's practically nothing here. You feel that there are only few frequencies that are allowed on. So this here you find again the sound that you want. If you want to make sure also that you have extracted the noise and nothing related to the words you can use the difference monitor instead off the audio. And here if you listen, for example, to the singing part. If you can hear any singing in the difference, it means that you need to lower your threshold. You should hear as little singing as possible. Those are two ways to monitor your stereo removal. You could also use the noise profile in order to make that curve, not straight anymore. To make your own plug in, learn where the noise come from, where the most frequencies are contributing to the noise and in order to remove it. You can also play with the attack time, the time at which the noise the pressure would start. Working. The release. How much you wanted to keep working, working into transients. If there's too much transients coming from a certain background noise, how the knee should be for the curve, etcetera. You could have it smooth, punchy, normal or adaptive. You have many, many, many different options that you can use. You can also create a new shape. For example, for the noise removal you can choose here from a low shelf, five shelf bell or even a notch. It really depends on the noise that you have within. You're recording studio now off course. We make sure to have as little to zero noise as possible, but your microphone, since it's extremely sensitive, especially for a condenser mike, it will always have a tendency to pick up some surrounding noises. But that's OK as long as you can remove them using that plug in right there. Okay, so that's basically how we have to do it in order to remove the noise from the vocal track . You could also apply that for an acoustic guitar, even if it was recorded using a jack fish, you can still remove a few noise if you feel that there are some noise left. Now, the two main reasons I personally and most mixing engineers do that remove noise is simply because, first of all, aesthetically, it's much better. And secondly, because we don't want any bad frequencies to occupy the mix. Because, as you will see in tutorial three part two, you will see that your EQ You, your equalizers, have for old to determine each instruments on its frequency range. Each instruments should occupy a certain frequency range. We don't want any instrument to go by other frequencies that are not adapted for that instrument on. We want for each instrument to bring the frequencies that really give it clarity that really give a feeling that this is a guitar playing. This is violent. This is a piano. This is a kick drum, etcetera. We're going to see how we distribute the frequency broad along an equalizer. How we have many different ways to do that. How we have pre defined plug ins that allow us to do the work much easier. You will see that through practice you'll be able to get the most decent mix that you can off course. Keep also in mind something the recording should be asked, clean and as good as possible. If you have any error within a recording, try toe, redo it again. Try to do several takes but have a clean recording because if there's any error, don't think that you can just remove it through the makes. It might perpetrate through the makes and even reach the mastering stage, so make sure to have as low and as little errors in the recording as possible. Thank you for watching and stay tuned for Part two, where we will be talking about equalizers. 2. Part II A - Vocal EQ: Hi. Welcome to part two off tutorial number three from the Cuba. Siri's off learning while practicing in this tutorial, we're gonna be interested in working with equalizers. Equalizers are what will allow each instrument to have a definite frequency range or limited frequency range. The reason we need to attribute to each instrument a certain frequency range is to make them not overlap One another. Now equalizing is going to be done into two steps. 1st 2 are gonna equalize each track alone and listen to how it sounds on its own. Then we're gonna have to equalize it regarding the other tracks around it. Because the whole mix should blend together in this video. We're going to be equalizing the vocal Strack alone. Now, in order to know what amount of frequency I should apply or the frequency range that I should use for inch instrument, you have an IQ you chart that you can download as a pdf in the link below, where it gives you an idea for each instrument and their frequency range Occupation for the vocals percussion, brass, etcetera. It also gives you the key frequencies for each instrument. For example, for the mail We have a fullness and luminous at those two frequencies, and these are two things that we are going to try to get rid off. Using the equalizers. However, the presence recognition is something we're gonna emphasize to make the words hurt clearly and pronounced clearly this imbalance as well and the breathing air as well. No off course. There is no absolute right when it comes to equalizing. It's just a matter of taste. But there's, however, a certain threshold into which, once you get below that treasure, the mixed doesn't sound good at all. So my personal favorite, when it comes to vocals, is to using the eyes atop alive, too. The isotope alloy to is not just an equalizer. It's also a compressor limiter at the Aesir etcetera. However, in the equalizing it contains several already done presets. One of them that I really like is the type of performance, and if you look at the curve, it respects the chart that we have right there. So there's a certain cut off here at this frequency. So around the cut off at 200 then another lowering here from the game so that those are not very audible, and here we start to get higher than the game. So how you end up at around 1.8 case, and if I look at the chart is just before the presence recognition, so that suits it. Well, I also have here a peak at 13 K which falls within the breathing air range. Now, this is if you want an easy way to do an equalizing off the track so you don't have to play with several things, and your mix will actually sound quite OK. Here's an example of what it sounds like before the isotope alloy to and after remind him well, to come back for the job. That if Yale it ago You know the vocal See there to the cattle on, uh, so the sub remove. Ah, Now with the equalizer, the modem want to come back for the job that they feel it. Rocco, you neo there. You can see there to the cut it. Uh, so this ah, move. Ah, So as you can see, the words are pronounced in a clearer way. So our vocal track for now has been reduced from its noise has been equalized and sounds actually better. So you could also download for free the BC frequency analyst which allow you to see how your track looks like before and after the equalizer. So, for example, in that case, for the vocal track, if I look at it, this is before the eyes atop Mount him. Well, to come back for the job that if Yale it ago. You know, the locals here, there to the cattle on, uh, so the sub remove. Ah, and this is what we get right afterwards the morning. Want to come back for the job that they feel it? Rocco, you neo the local See there to the cattle Allah. So the sub move. Ah, So actually, there's a higher pattern when it comes to the highest frequencies. Okay, so sometimes the difference is subtle, but it's there, and it's what can make the big difference in your mix. Now, for the second video for part two off the trail number three, we are going to do the equalizing off the strings ensemble as well as the piano and the pat . Thank you for watching and stay tuned for the next video. 3. Part II B - Piano, String and Pad EQ: Hello. Welcome to the second video from Part two off tutorial number three from the Cuba. Siri's off running while practicing as we previously started with securing the vocals, we are now going to continue to e que, the strings, the piano and the pad in our multi track project. So, as I previously told, the first thing I'm doing is equalizing each track individually. And then in a later video, I'm gonna re equalize them according toe, all the other tracks around so that all mix blends together. Let's start with the piano truck for the piano track. I really like to use in the e que the h e que stereo plug in from the waves Company because it has a very distinctive feature for different instruments, meaning I'm going to be able to really feel the difference and really bring forward all the components off the frequency that I need for that instrument. So in that case, I have presets that are already done, which is very practical for home studio users. So I usually choose the piano one set up here, which I find to really suit my needs. So I'm going to show you an example off what my piano sounds like without an equalizer and what it sounds like with an equalizer. And this is what it sounds like with the equaliser on. So you see, there's a lot off difference. I have a sound that is less going towards the basic notes, but with more mid range and more if you want travel ish frequencies, more high frequencies wrote forward. So that way I'm liberating the base for the bass guitar and for the base kick drum. Now, as for the strings ensembles, I also like to use the H Q plug in because it does have the strings preset, which is good when you have several string section that come the comprises off violins, violas, cello so etcetera. And here I'm gonna find the section where the string start right there. And I'm gonna let you have a listen without the equalizer and with equalized. And this is now with the equaliser on. So as you can see when the equalizer is on for the strings ensemble, I have much better clearance off the nature of the instrument. That is because the overtones which comprises and are a bunch of frequencies that make me distinguish between different instruments are much more emphasized. So I'm able to distinguish that there's violent playing a violin playing, etcetera. So this is a great way in order to give life to the strings you're playing and to make them look as realistic as possible. Now for the bad, I personally chose to use the ice atop Ozone seven Equalizer. Now the eyes atop Ozone seven Equalizer doesn't really work like the other equalizers previously seen, because, as you can see here in the presets, it's not something based on every single instrument, maybe, except for the vocals, but it's more like the gold you want to achieve. What do you want in my case, have chosen for the bad to have a warm, low and high end, which I found to be very suitable for that kind off sound. I've personally chosen for the pat, So here I'm going to give you an example without the equalizer and with the equalizer way, and this is the example with the equaliser on. As you can see, the path has also come to life even more because off the transition that has become clearer , the frequencies arm or emphasize the right frequencies have been emphasized. I have, however, liberated the mid range. As you can see, I'm not doing a lot off emphasize on the mid range. Just a little, okay, Just a little right there and raising from one K to two cases that the sound can be heard. But I have quite a big number off emphasize right here. And I have an emphasize on the base so that the transition can be really heard when I'm going from the base to the higher frequencies. Okay, So as you can see this bad comprise off what I call the Flynn jer. So that's what gives that effect that you can hear. It's not a swiping infrequency, but however, it does comprise several frequency values that goes from measure one to measure five. And I need to bring them forward as much as possible, because the bad is what starts the whole song. So I'm gonna let you have a listen off, what it sounds like with the equalizers for the piano and the path together. So, as you can see, I'm able to clearly different shape between them. And I'm not bothered by one that discovering the other. So that's good to know, because it will give us some less work for the further equalising in the later stage. Hope you enjoyed this video and stay tuned for more to come. 4. Part II C - Drums EQ: Hello and welcome to the third video from tutorial number three of the Cuba. Siri's off learning While practicing in this video, we're going to learn how to apply e Q. Two drops. Now, as you can see in my project, the drums are separate into several tracks. One for the kick drum, another one for the snare. Tom's the Hi hat and Cymbals. So a total for this project off five tracks just for the drums. Now what you are going to do, it's partially equalize, each one off them. Meaning, Just as I explain in previous videos, we are gonna solo the track to which we are going to apply the EQ. You see how better it will sound with the EQ you apply. And then, in a further video, we will reapply E Q two tracks in order for them to blend well together. So for the Kick Drum, we're going to start to apply an equalizer. And I usually go with the H Q stereo here because I have a stereo track off course, and the advantage in such plug ins is that you have several presets that are already made. This H e que is really amazing plugging for equalizing so usually for the base trump. I choose the base from one. Now, As you can see, you haven't a and be set up which allows you to compare Here is the be set up where there's also based from two on here is a seven. Now we see for the drum to there's a broader frequency range in the base which I don't really like because I'm thinking from this moment that I have a bass track that will need to be equalized and that will occupy some frequencies right there. So I prefer to have a Knauer, a narrower frequency right there for my best trump in or forgive in order to give some more space for my bass guitar later on. So I'm going to apply the bass drum one. This is the one I'm applying right there. As you can see, based from one on track A So here. Once I search for the bass drum, it starts at Measure 22. I'm going to give you listen without the equalizer and then with the equalizer. And now listen with the equaliser on. So, as you can see, there's a much bigger presence in the bass drum once the issue has been applied. Now we clearly see an emphasis on the base frequencies, like a plus 10 right there, up to plus 10 from here in order to give a much bigger boost. And we still haven't been using a compressor, so keep in mind that it will be even better once we start using compressors. But as for the equalizer, it has already given me a clearer idea off what my bass drum should sound like. Now that this has been applied, I'm gonna move on to the snare drums and I'm gonna be using the very same plug in the h e que stereo, and I'm gonna be using for this one the snare one priest snare drum more. Okay. Now, as you can see in B, I could also show you the difference between between the one and the two. As you can see, the snare drum to has some occupation in the base area where this the snare drum one, as a comparison has lest occupation less occupation the base area, meaning that I will have more free space in the bass frequencies which will be even better for my bass guitar. The bass guitar is very hard instrument to equalize because it's already not very audible. One. There's loud music, but you should feel it. That's the importance of the base. The base, contrary to many popular beliefs, is very and extremely important. Instrument it. What gives the music the punch and the connection with the melody. It has to connect between your drums and your medic set off instruments, but you need to feel it within the mix in. It makes the mix go. It makes the mixed flow, but you have to give it some space in order for it to appear clearly and for you to be able to feel it. Keeping in mind that feeling the basically required, like some very good stereo speakers, you can hear it well in the car. You can hear well on your stereo. You might not hear it well on your phone, but you still need to feel its presence while you're here. It well on your phone if you had headphones off course, but not if you're using the phone speaker. So I'm gonna go with the configuration of the snare drum one and I'm going to give you an idea of what my snare sounds like without an equalizer on with an equalizer, and this is with an equalizer on. So, as you can see, it's much more travel ish. It's tighter as a sound. It's clearly separate from the kick drum now, so it's it's much more frequency attributed as I want to call it. I can feel that the stair drum has now its own occupation in the frequency chart. No, I'm gonna equalize the toms, which are useful for fillings. I'm also gonna go in the equalizer in the h e que stereo plug in and I'm going to use the time one also going to show you the time to for a better idea. Now, as you can see, the Tom to has a clear occupation in the base, it's not really what I want. I want to give this space right there for my kick, although keeping in mind that the Tom, as mostly mostly used are mostly used within fillings. So that would be OK using the time to, I suppose. But I felt personally that the time one had a better sell and gave a better impact So I'm going to show you what the terms now sound like without take you and with the presence off , thank you. And this is was a key on, so you can really feel them. You can feel there close to you can feel the rolling in the drums. Who gives a better preparation for the next measure that comes on. If there's a chorus, if there's a bridge, there's another verse, so that's much better. Like much more alive, if you will last but not least, I'm gonna now apply an eq you to the high hat track. I'm also going to be using the same plug in, and I'm going to use the high hat, too. Now, if you look at the high hat one, as you can see, it doesn't have the high pass filter, meaning there are still low frequencies that can pass. Meanwhile, here there are completely cut off, and that's exactly what I want. I don't want any bass frequencies within my hat for this truck for other tracks I might need. It might be a matter of taste might me, because I want to fill the base area, but here, I really need to free it. So I'm going to use the high hat, too Section set up and I'm gonna let you have a listen off what your high hat sounds like with a que and without e que And here we go. And here is with e que. So, as you can see, it's also much more alive, much tighter, much more trouble ish and also clearly separate, as well as the snare from the base areas from the bass drum, mostly. And finally I'm gonna apply e que on the symbols now. Usually I personally like to go for the symbols with the overheads set up the overheads to which in conversion with the overhead one does not have any based component. It has a high pass filter like this cutting at frequency off approximately 50 hertz, and it applies some air right there, which is much more present than in the first, Then the first configuration. So overheads to is the one I usually go for, and I'm going to give you listen without the e Q and with the U and this is with the EQ you apply. The residence is also more audible. Once I'm using such a configuration for equalizing the symbols. No, I'm going to give you Listen to the drums. How they sound like with older e que apply. I'm gonna choose this measure right there. I'm going to give you listen without the cure and with the Q So just turning it off. And there we go now with the EQ. You applied everywhere, and that's it for this tutorial. We have partially equalized our drum set. No. For the next video, we're gonna be equalizing the guitars first the base, then get our solo and the acoustic guitar. Hope you enjoy this video and stay tuned for more to come. 5. Part II D - Guitars EQ: Hello and welcome to the fourth video Off tutorial number three of the Cuba. Siri's off learning while practicing. Today we're gonna partially equalize the guitar tracks, which will be the bass, the guitar solo and the acoustic guitar. This will be the last video off the partial equalization, so, as you can see, we have to equalize. Three instruments, however, are gave you four trucks because one of them is the guitar solo without any effect, since I give you the free choice to apply any effect that you want. As for me, I'm using it. Eric five and I've used one preset from the guitar Rick five software. So let's start with the base. As I said in the previous videos, the base is a very crucial instrument to equalize because we need to hear it. We need to feel the impact. However, we need to have enough space for it, as well as for the kick drum in the bass frequencies area. And we need not to saturate our music so that we don't get any distortion in the mix. So for the base, I'm going to go for the partial equalization with the H Q stereo which gives me base one for preset and face to now based one and based toe both give satisfactory sounds. However, I found a much bigger preference for base to. I'm gonna let you hear the difference there. So if you try them based to appear to be a bit more emphasize on the base area. Meanwhile, base one appears to be a bit more emphasize on the travel ish area. Since I have several instruments that are already on the trouble frequency section, I would prefer to use the base to in order to give a much bigger boost in the base area. That's what I personally prefer to use. No, I'm gonna let you have a listen to what it sounds like without actually using an e que. And with an IQ You, uh uh on this is the result after queueing. So as you can see now, the base is much clearer, and you're going to feel that impact when the whole mix comes back together. And after we do the final equalization touches. Now that the base has been equalized, it's time to equalize the guitar solo section. So for the guitar solo, I'm also going to use the h e que Basically, I'm using a lot that plug in because off how great it sounds. So I'm gonna choose the guitar one for the A on the guitar, too for the B in order for you to be able to hear the difference. And this is where our guitar solo section starts. I'm gonna let you have first listen so and forget our one. So as you can see in guitar One, okay, you have a much bigger emphasis here, which I don't really like because the guitar solo in guitar rig has ready Beanie Cute a bit . So I feel like there's an over saturation. I feel that the guitar too, is smoother in that case. So that's the one I'm going to keep. However, I want you to have a listen off, what my guitar sounds like without any Q and with any kill, this is without any que cool. And this is with the cure plight. Okay, so you can see that there's a bigger presence and this instrument is going to reveal replacing the vocal, so it needs to have a lot off presence which I found very satisfactory with this plug in so far, however, as you can see, there's maybe a bit off trouble that has bean excessive, which you are going to correct the final equalization process later on. Finally, we're gonna equalize the acoustic guitar section for the acoustic guitar. Since it's not, our main instrument is just a writ make section, which has to give emphasis for the piano truck I'm gonna be using the plug in. That sounds the best for this type of application. So I'm also gonna be using the H Q, which has presets for acoustic guitars. Here is for acoustic guitar preset on an acoustic guitar preset to no for acoustic guitar preset one I can feel, if you will, the doctors to get our preset one has some bigger like frequency attribution to the base area right there. Like here. It's smoother than this cut right there. Okay, there's a bit more frequency in the guitar, one that has been kept, and this is very practical. If you need to use a guitar on the vocal, for example, just to get our vocal track, that's a good thing because it can replace the base impact with here. I already have a base that is playing its full role. I have a kick drum, so I prefer to liberate as much as possible that space. I might even in the final equalization shift that a bit in order to give even more space to my base, which is something I remind you very crucial. And you don't pay attention sometimes that some base components come and add up and your make start to get distorted, and you don't know why. So that's why I'm gonna stay with acoustic guitar, too. However, I'm going to give you a listen off what the guitar sound like without equalization on with equalization. So this is without the e que. And this is with the Q on. So, as you can see, there is a certain smoothness under rink to the extra guitar now that you are able to listen to, and that's what I personally like about this plug in right there. So now that we have partially equalized all of this, we have finally finished the partial equalization. We can move on and stay tuned, please, for the next video, where we are going to continue to do our mixing until we fully makes this project 6. Part II E - Blending EQ: Hi there. And welcome to video number five from Tutorial number three off the Cuba. Siri's off learning while practicing. So after we've been doing the equalization for every track individually, it's time now to do any que where all the mix will blend together. And in order to do that, we need to make sure that we have as little as overlapping frequencies as possible. So basically, I've created here a small chart which allows you to see where each instrument stands within the frequency range. So we start with the maid vocal that I've made the highest. So the here the level is just for you to different shape between the different colors so that they don't blend together. You have the male vocal that occupies these frequencies right there and the presence as well as the air right there. The kick drum, the base right there. The toms, the snare, the symbols, the guitars both working for a questing and electric the piano. So you see, the piano occupies a lot off the range and the strings section which have the violas, the violin and the cello. Basically, what you have to do here is create as little as overlapping as possible. Now keep in mind that even if we have some instruments where we cannot the associate the frequencies from one another, we are going to be able to solve this by working on the planning on the stereo, panning off our trucks, which will be in a later video. But for now, let's start for this project with some basic steps. So the first thing that I want to do is go back to the vocal right here to the vocal that I'm using. I want to make sure that within the base section I have as little vocal as possible. So if I take a look right here, where the male vocal stands on this area, I want to try to get rid off them. So keep in mind now that if you listen individually to every single track, it will appear as if they are not very well mixed individually, but one. You listen to the whole mix together, you'll see that it's gonna stab and work perfectly. And you are gonna be able while listening to the music to focus on each instrument, despite all the others playing at the same time. That's when you know that you makes concerning the e que has bean really well done. OK, so basically, guys, just so you know, it just takes practice, Okay? I could speak theory for years until you practice until you get in your home studio to start working on all of this. You're not gonna progress. Okay? Theories just between five and 10% and practices like 90% off the job. Okay, six years. I still personally also have work to do all progress every day when I'm working in my home studio. And so will you. Okay, so what I'm gonna do right here is I'm gonna push the base in the vocals until let's see here on the chart. Well, until almost the 200 and 50 mark. Okay. So that's what I'm gonna do regarding the vocals. Now, when I look at the presence which starts at two K, I look back and I see that a two k I'm already starting to give enough boost, so I'm okay. But for now, I have liberated a lot off space within the base region, which is what I want. So for No, I'm all good. Now the second thing I'm gonna be working on is the kick drum. So for the kick drum, I have to give it some space within the base because I need to feel Basie kick drum. But within the midsection, I need to try to lower the overlap as much as possible. So if I take a look at the kick drum that I have right here, if I look at the midsection like I have some emphasis here at the three kilohertz. Okay, which is quite good. But I have here this section as you can see, this section right here between the 250 mark and the three kilohertz, which doesn't have anything related to the kick drum. So what I could do, for example, I could lower this range right here. Okay? So I could lower this strange right here in order to liberate some space in the midsection . Okay. And I could as well shift this one a bit right here. So getting on the three k until five k Mark. And if I look, there's nothing after five K, so I could, for example, lower this section of it. Okay, so that's what I'm simply going to be doing for the kick drum. Okay, have liberated some space. And that way the midsection is not occupied by the kick drum anymore. Now for the base, the bases Very subtle, because the base is also not very easy to be listened to. So basically, what I'm gonna be doing with the base is making sure that at the mark between 701 K that I have a bit off emphasis within the base. So it's already emphasizing the Basie area, which is good. It's already cut out at the high frequency range because I do not need that. I could almost, you know, do a better cut right here. Okay. So I'm just doing this, that all of them sound good together, and I'm going to do a bit off Emphasize right here. Okay. Right there. What I could do is doing a bit off emphasize at this mark right here for the base. OK, this is where the base will stand. This is where you will feel that the basis coming in the midsection, which will allow the listener to hear it because the problem is that when you're listening to a certain song on your phone or on regular speakers, you won't be able to hear the base quite correctly. However, if you're listening to it in your car or if you're listening to it in your home studio, the base with sound perfect. So that's one thing you should pay attention to. Of course, in the mastering process, you'll also be able to make all these sounds appear almost at the same rate everywhere. Okay, but for now we're just working in the mix. We need to have the best makes possible. And please keep in mind that all of these, that I'm doing a relative to my own project. Okay, so suppose that you had no basin, that you had only a guitar and the vocal You need to make sure that they occupy the base section. Okay, so the EQ you would be different. The e que is different within every project. There is no single week you Otherwise, it would be very easy to mix. So that's why I was very insistent on the fact that the first presets that we've been using for each instruments were just partially que it was just in order to make sure that we have the frequencies that we need. And now we can play with that small puzzle in order to make it fit so that our mix blends together. Now you're asking me how am I so easily doing all of these? Well, it's because based on the chart that I have created here for this project, I have written down everything that I change by order, and I expect you to do the same. Okay, so basically, how did I draw that? I took the pdf off the ACU chart that you can download in the link below, which I've shown you since the first e que video. Okay, I see each instrument, for example, for the male vocal. What frequencies does occupy where the bombings occurs were the fullness occurs presence, recognition, civilians and breathing and air. And I make sure to put them on the chart so that I know which frequencies are important to keep, which could be liberated. How can I make sure that the pronunciation still is clear still is audible? I don't want mashed up lyrics. I need people to be able to focus on the lyrics. Okay. Especially that this song in this project is not sung really fast. It's pretty slow pace. Pretty normal pace. So the vocal should be heard very clearly. Okay. And also because the vocal are the lead in this in this track. So they should be really, really well heard on The listener should be focused on them. OK, so they need to be in the best section possible now, regarding the thumbs from the drums. Okay. Regarding the terms here, what I have with in my chart for the toms is some here at the basis section, okay? And some at the higher midsection. Now, regarding the toms, it really depends on the effect that you wish to give for your role in. Okay, So I love the basic effect personally. So that's why here is ready emphasized within the base I have between the 80 Hertz mark and the 100 something and here between the 300 mark or 280 mark and here between 240 the 400 basic. So let's take for the 1st 100 in the 80 and 100. Let's see what our eq you already has. So it's ready. Emphasize right here. But However, I could do a small cut right there so that I could make it free off other basic components which I don't want to overlap with. The kick drum. I also have here the region between 240 and 400 which I personally would like to emphasize . Okay, so I would like to emphasize this region right here. Okay, so it's gonna get a bit emphasized on all of it, but I'm gonna work here on the Q so that I make it narrower. Okay, I make it narrower like this so that I do not do anything additional at this section. Okay, so there's a bit off emphasis. That's okay. And no, I also have for the toms certain presence at this frequency right here. So between five. K and seven cape, because the terms are not just basic. So here between the fight five K and seven k, I'm gonna do some additional emphasis. Okay? Right here. Like this. And this is what I want for the tops. OK, so this is good. No, for the snare for the snare. There's one thing that I want to do. I want to lower the base impact as much as possible. I already gave the kick drum on the toms some base occupation. I don't want the snare here. I prefer the snare to remains in the base section because if you look here, the snare has some presence within the base section between here, the 100 mark, actually between 122 140 and there's a ring at 900 hurts. So first, let me make sure that between 122 140 under Tony in 240. Well, you see, I have already something that rises up. I prefer to lure with lower it down like this, or I should apply the cut filter up to that. Now, for the 900 drink, I'm going to raise it, but apply some que so that becomes narrower. And then I have at the 2.5 mark like this. So I'm gonna apply here this so that I'm liberating this section right here. And I'm only applying between to under five K like this. That's what I'm gonna do for my staff. Now that this near has been done, I still have the symbols, the guitar, the piano and the strings. So for the symbols, I'm going to cut the base and go with above seven cape. So for the symbols right here already have a cut off at the base for the symbols. Basically, I have. If I look at my chart for the symbols, I have small frequency at 200. I have another at your own. Three. Kate on. I have between 7.5 and 12 caves. We look, if we look right here, the chart, the symbols, their presence in the round three K, the clang around 200 the shimmer between 7.5 and 12 killers. Okay, so I personally gonna get rid off everything before the 200 mark. Okay? No need for it. Going to raise it a bit on the 200 mark. Then I'm going to lower everything until I reach the three k mark like this. And then I'm gonna go until I reached the 7.5. So, um, not going to use a low pass filter right there, but they have high pass right here. That's a tricky to dio. So between 7.5 and 12 gonna raise it like this before this one gonna apply some. Que There we go. Well, that's better. Okay, this and like this. Okay, now this is better. Okay, so here, because I have it's kind off. Five past filter right here. Not very easy to do. Okay, well, that should be acceptable. Basically, that's what I'm going to need. Okay, there we go. That's what I'm gonna need right here. And for this one, I'm gonna do some emphasized. I mean, the symbols are not a Keurig at every hit, so that's OK. That's practically okay. I want them to be audible. Also, they occur at the start off a measure. So that's good. I'm quite satisfied with now for the guitar, whether it's the solo or whether it's the acoustic. I want to make sure that I cut the base and I put an emphasize on the presence within 2.5 and five K, which I basically have. But however, it's a bit civic narrow. So here, I'm gonna put the emphasize right there. I want something above the five K mark like this and gonna apply cut filter here for the guitars. I'm gonna cut base. Do not need a basic component for the guitar. If I look right here, the guitar, however, need to be hurt. So I'm not gonna completely cut it. Of course. But, I mean, I could start cutting it at the 100 Mark. It's gonna be OK. So there were going to cut the guitar right here. Okay, the guitar is cut right here, and you also have here great thing within the H Q stereo. Is that it tells you every note that you have where it starts for the guitar, for the guitar, for example. As you can look in the chart when you look at guitars. No. Where did it go? Uh, there it is. So the fundamental is the e two. It start from Ito until the six. So if you look right here, the to is that so? The two is at this frequency. So do I really need to use these frequencies right there? Well, I could, you know, just cut them a bit down. I could have them past, but I could, like, narrow the filter right here and let them pass from the to. Okay, so it's okay. The E two is not completely heard. As long as I have a base that sustains this place. I have a kick drum, so that's OK. I mean, my goal is not to make the e two clearly hurt. Okay? The each or not clearly hurt. Basically, I need my guitar to be heard in this section right there. Okay, Especially for the guitar solo. Like for the guitar solo. Basically, I could almost get rid off this frequencies because I do not have them. I'm not gonna play them within my guitar solo. So why having them anyway? OK, do not overload your mix for nothing. I'm gonna here to give some air right here, because if you look at the guitar, I have Okay, so the area is not mentioned for the guitar. That's a game. Don't really need it anyway, so presence at five k. So I need to cut it at five. K. So there we go. This is good. Okay, this is the emphasis on the guitar. So what I'm gonna do, first of all, is I'm gonna copy right here the settings for this one, and I'm gonna pace them for the acoustic. However, for the acoustic, I'm going to get back here to this section because I'm gonna give some additional base, OK? In order to get my two? No. Now what remains is the piano and the strings before the for the piano. Okay, for the piano. As you clearly see, it occupies a lot off the section. But personally, I do not want to give an emphasis on the base for the piano. So what I'm gonna do is I'm simply gonna cut the base component within the piano until here I have to emphasize above 1.5. So that's it. That's an emphasis about above 1.5 that I have right there. Okay, here I'm still at zero game, but here I start to emphasize around the 1.5 mark. That's basically what I want to do. And regarding the strings for the strength ensembles, I have to do an emphasize on the seven k to 10-K mark in order to have some scratch. OK, so as you can see, the scratch will be the sound which would make me clearly here that there are violence playing in this section. Okay? And I mean for the strings, I do not need a lot off emphasize on the basis section okay. And for the strings, right here. You have the fundamentals, which starts within these sections, but for me, I prefer to have the base occupying those places. So I'm gonna cut them a bit. I'm not completely obviously, but just a bit. And I have the fundamentals until one k here. So from the 500 or four from the 200 to the 1.3 k mark 200 the 1.3 game mark, I am gonna have it guy in the race, okay? No, I'm gonna fly this right here. And there we go. Liberating This section right here could also make with a cure. And there we go. So there we mixed the whole set. Okay, according to our chart, right here. Now let's give an example off how it sounds without using any e que you know, trucks. And why using antique. So I'm going to do, like, 2025 2nd let me do a 30 seconds measure, which I'll start without using any e que and with using. So let me start first by deceiving they eat you right there. Oh, there is also the bad that we have. Let me just make sure for the bad. So for the bad, I'm gonna leave it as it is because I wanted to be global within the whole frequency range . So I'm OK with the path. Personally, I do not want to change anything within the bad, but I will have a listen without the John with the U. Okay, they're weak. So this is the song how it's gonna sound without any morning world but for the job New this year. Google's CEO too. So this move more than what? He's a label. Good. Go. Okay. So I basically decided to extend it a bit so that you could hear all the instruments. Okay, so here, I'm going to stop at the 41 measure. And now I'm gonna let you have a listen with all the cues. A neighbor, you're going to see the difference. If you have headphones, that's gonna be even clear. Okay, Now I'm letting each instrument sits and it's appropriate frequency range for this project . And here it is with the e Q and A. But for the job earlier this year, the new Google CEO too. So this the devil good to so as you can see we have really attribute ID to each instrument its frequency so you can clearly separate them in your head. Whenever you're listening to the song, you can clearly focus on the guitar. It can clearly focus on the kick drum on the vocal. They do not mash up within one another. So sometimes off course, you have to listen several times to see if the frequency that you've chosen really suits your need As a matter of taste. It's not just as a matter off where it sits, but also as a matter of taste. Do I feel like the guitar, for example, really is what I want? Is it too much travel ish, etcetera? That's what I want to work on as a matter of taste. That's where each mixing engineer and his own tastes and experience comes in handy. But in that way, if you listen to every single track on its own, you're gonna say it sounds like crap doesn't sound the way I want to. But listen to the whole blending together, and that's when you know that you're makes is good. Thank you for watching this video and stay tuned for more to come 7. Part III - Panning: Hello and welcome to part three off tutorial number three from the Cuba. Siri's off learning or practicing. So since we have finished everything related to equalization in our project, we still have, however, to take care off where in space our instruments should stay. So the process that we are gonna be working on today is panning. Banning is basically where each instrument is going to sit within a stereo place. So the best example off, how you can visualize this is suppose you are sitting at a concert. Okay, there's a band in front of you. You can see the drums, the vocal, the guitar, the piano. So where would you feel that those instruments should sit according to the left and the right and the centre off your ears. So, of course, there are lows for that. For example, for the vocal, we will always have the main vocal at the center. Never at the right, never at the left. The center is where you are, grabbing the attention off the listener. The most focused attention. It's also a place where left center and right, should each occupy a Siri's off frequencies that make the ear feel like there's a fullness . For example, if you work in a mix where all the right ear frequencies are high frequencies and the left are low frequencies, your mix is gonna sound. Bet you need to have it sound as evenly as possible. So, for example, regarding the vocal tract that we have here, the planning should remain at the center. In order to make sure of this, I can go right here in this section and open up the pan er left, right option and make sure it's at the sea meaning center, not left and not right. Of course. Now there are ways in order to make vocals louder and in order to make them occupy the space even more. Which would be, for example, to have one vocal track at the center and then to double and even triple the vocal tract by having one sitting of the left. For example, 50% of the left and another 1 50%. But the right, So here you have an option to vary. How much of the percent that you wanted to be at the left and how much you wanted to be. At the right are is extreme, right? So nothing will be heard on the left Speaker and left means everything will be heard on the left speaker and nothing will be heard on the right speaker. Here is a percentage. Okay, here is how I'm working on percentage with respect to the center center meaning there is an equal amount for each one off them equal a month for the left and the right as it appears coming out of the center. Because, as you know, there are no speaker at the center. There is the base, usually subwoofer, that is at the center. But let's consider your ears, for example. You don't have a middle ear you have left on the right here. The feeling off center comes from the fact that you hear the same amount, the same amplitude at the left and at the right. So for the vocal as I was saying, we're going to remain at the center. Also, other instruments which should always stay at the centre are the base. For example, the base should always remain at the center. The kick drum should also remain at the center. Suppose you have a drums in front of you. The kick drum should always be at the center. You should feel that it's coming from the center off your track. This is also valid for the snare drum. Okay. The snare drum should also be sitting at the center Now for other examples regarding this project, I have decided, for example, for the piano to have it sit at the left. Of course not the complete left, but at around 60 l 60 okay, for the piano. Now, in order to compensate for that, I'm gonna make sure that my acoustic guitar, which is also a rhythm within this a section it's not the lead guitar. So I'm gonna make it sit on the right at almost Let's say Okay, so it's like I have musicians and I'm telling each one of them were to sit. So knowing how to do a planning is very useful when you want to do a live sound engineering procedure where you have a band and you are making this sound so the best possible for the audience. So now that we have the piano and the guitar, we still have the path for the bad. I have decided to make it sit at the right to have around like R 70 for the path and for the strings the strings ensemble that I have right here. I have decided to make them sit at the left. So that way I can make sure that I have the good amount of frequencies in each part. Now, what I have left are the terms that I'm gonna have sit on the left as well for the times I'm gonna go with and 30. Okay, which should be enough. I still want to hear some of the right for the high hat I'm gonna make it sit at are 25 should be enough. And for the symbols, because I want them to have a contrast with the high hat. I could either leave them at the center or I could give them slight left. Bestie l 15 should do the trick. Okay, It's just to put a contrast with the high hat. So the reason that I have chosen those values is regarding the e que frequencies for each of them in order to have a good amount on the left, as much frequency as possible and a good amount on the right, as much frequencies as possible. For example, if I have some bass frequencies on the left and some bass frequencies are the right, then I'm good. I'm not gonna have both bass frequencies at the left because that's what do a bad mix I want basement and high at the left basement and high at the right. That way, my mixes even and that way I'm also able when I have two instruments that have overlapping frequencies to separate them in space. So I did my best in the previous tutorials to separate everything related the frequencies in the queue process. And now, by using the spacing process with the panning effect, I'm making something even better. So what's left to do for us now is to look at the solo guitar that we have. So for the solo guitar sits, it's only a small part that will replace the vocal. I can decide to keep it at the center off the track, okay? Or since there are other instruments that are being played at the same time, I could decide to shift it a bit on the left or a bit on the right. Let's suppose we have a musician on stage a guitarist on stage, then ofcourse, irrigators is not going to just stand there and play the solo. Only he's going to be playing another part. But in that case, we do not have that. So I prefer to keep the solo guitar at the center. And that way we have banned each instrument that we have in our project. So for now, I'm gonna let you have a listen off. How our truck sounds like With all the planning done, you're going to see that each instrument is now clearly audible. I told him one for the job earlier this year. The vocal. See that too? So this no way. - Go . So here we go for this tutorial. Thank you for watching and stay tuned for more to come. 8. Part IV - DeEssing: Hi. Welcome to part for off trail number three from the Cuba. Siri's off learning while practicing today we're gonna work on an audio process called DS Inc. The S Inc is a process that is used in order to reduce the impact off s sounds in vocals. Since you might not be familiar with this as sounds are actually picked up with, ah, higher impact on the microphone. So whenever you're doing speech or you're singing a song, all the s sounds that are pronounced have a tendency to have a higher amplitude, and they can cause distortion within your mix. So in order to reduce their impact, we use a plug in called a de Esser. So here, in the vocal track that I have selected, I'm just gonna drop down the frequency analyzer right here in order to include in my chain a de Esser. Now, keep in mind that here is the order of the plug ins that I'm using. So we started with a noise removal, then with any cube and no, we are going to be working with a de Esser. So I'm using the waves. The Aesir you have it in mono and stereo. But for my vocals right there. It's a stereo track that I have to be using. Since you can see it's it has been exported in stereo. Keep in mind that I could have used the answer before exporting this when I was recording in mono. But I just wanted to show you that both can work. So for the DS, sir, Stare you right there. Here are the important variables that you need. It's the threshold which will be the value in DB at which the answer will start to work. And here you have a meter, which shows an attenuation which shows you how it works. Okay, so we are working here with that type of filter a high pass filter. You could also try a band pass filter and see which one suits your need most. Okay, so here, for example, I have taken apart off the vocal where you can hear the s sounds pronounced. So I'm gonna let you have a listen without the aesir first and let you have a listen with the di essere. Once we do all the tweaking there, you can see there to the cut it. Uh, so the sub move. Ah, so as you can see, there's a lot off s impact within the sound that I'm producing. So now I'm gonna hit on the transport cycle so that this spot repeats itself and I'm gonna be playing with the di essere until I find a suitable amount. I want to You can see it too, to you see it too. So I've changed the threshold meter in order for it to only work when the s sounds appear. So when the s sounds appear, it means that I've become above threshold that I have fixed here and the attenuation starts soared. That's how I do in order to remove the s sounds. So you free here the s chain right there. We can clearly hear in the difference that the S have been removed. Okay, Now, if you use a band pass filter right there, There you can see there to the cut it. Uh, so the sub move. Ah, it means that we are only removing at this frequency. The s sounds so basically, we're only passing this frequency to remove the s sounds. Meanwhile, when we're working with a high pass filter, it means that all the frequency after this have the s removed. That's why I prefer to be working with the high pass filter right there. So I'm going to give you a final Listen with what our truck sounds like without the DS er, And with that Yes, sir. You can see there to the cut it. Uh, so the sub move. Ah, the locals here, There to the cut it. Uh, so the sub move. Ah, and that's how you fix the impact of the S sounds. Now for the other tracks. We don't have that problem. That problem is really only specific for vocals. OK, so as you can see here in the plug ins where you have some settings of them already been set up, you have male and female s Inc. Okay, so now if you feel that your s ing is not at the right frequency, you could for example, see here Right there. What frequencies are being used for the s ng for the female? As for the sound male as well. Okay. Or you could use, for example, the values that we have previously fixed. You can use any value that you want. Okay. As long as it sounds the way you want it to be. I mean, there are standard values were okay with that, But we have to make sure that it's giving the impact that we want. It's giving the correct amount. That's what we need. We need to be at the right amount and for all the s sounds to be as removed as possible. You don't want to hear like a sound that is being, you know, like in a box where you cannot distinguish it anymore. No, is we're still need to be distinguished, but we don't want the S to have a bad impact on our mix. That's basically what we need. And that's it for this tutorial. Thank you for watching and stay tuned for more to come. 9. Part V - Compression: Hi. Welcome to part five or tutorial number three from the Cuba. Siri's off learning while practicing in today's tutorial were are going to learn about compression. Now a compressor is mainly used in order to reduce the amplitude dynamics in a track. So if I look, for example at the vocal track right here and I zoom in a bit, I can see that this is where the maximum value is reached and, of course, zero being the minimum. So if I look at the track in general, I can see that there is some dynamics change, and what I'm gonna do is use a compressor in order to bring out the quieter notes. But to also reduce the notes that are too high in order to limit, if you will, that peak that is happening, so are going to see how we can use a compressor for the vocals track for the snare drum and for the kick drum. Those are the tracks into which I'm mainly going to be using a compressor. As for the pad piano strings as well as the acoustic guitar, I'm not gonna be using any compressor because I don't want them to be extremely emphasised within my mix. As for the base, since I gave it enough space within my a cure, I'm also not gonna be giving it any compressing. And for that I have the symbol and the terms. I believe they stare as they stand in their frequency place the way they should be. They do not need any enhancement when it comes to compressing their dynamics in amplitude is not that great. So I believe that they can easily pass in the mix without any compression. Now keep in mind that it's also a matter of taste. Some people like to add compression. Some people don't, so there's no single rule for that. Okay, you just have to see what's it's best for your mixed. Every mixing engineer is gonna makes his own way, but overall, there are some general rules that they all follow. But in the end, it's just a matter of taste. So regarding the compressor that you are going to use for any off those three tracks, we have to keep in mind the first thing that the compressor always comes after the EQ you. So we've done the EQ you process and now we are going to apply the compression. So for the vocal track, since I've been using the eyes atop Alloy to it does contain a compressor. It also contains a transient which arm is gonna be explaining in a bit later. But it also contains here in the dynamics a compressor. Okay, it actually contains two compressor. Only gonna be using one off course, and that's what we are going to be doing right now. So regarding the compressor, if I look a bit, I have values such as the threshold. I have the ratio. I have the attack and the release. Okay, so I'm gonna be explaining all of these, right awake. So regarding the threshold, the threshold is actually how loud the signal has to be before the compression is applied or how low it has to be before the compression starts. Okay, so when the compressor starts and the ratio here is given here, it means, actually that if I go over the threshold by seven decibels, then I'm going to reduce them toe one. So I could change this value, meaning that once I pass 1.9 I started using by one or I can go. For example, once I go 12.4, I do see by one. And if I go all the way here to the inverse, it means that I'm actually amplifying the signal by one db. So if I'm at four decibels below the threshold, I gonna emphasize it by one DV. So I'm gonna keep it here at seven. D beat. I think this value was actually pretty good. Okay, so you can take any value off your choice. Seeing how well it's going to fit. Now regarding the attack, the attack option that you can find in the transient right here. The attack means at what time should the compressor start? Okay. At what time should the compressors start to work? If you want. The faster the attack, the faster the compressor start slower. The attack, the slower the compressor starts. And usually if I want to keep, for example, transients, which are the punches. If I want, for example, upon she vocal or if I want punchy kick drum, I need to have a higher attack. Okay, so I raised the attack time in order for the compressor toe works in a slower pattern so that I can keep my transit. I don't cut it off, and then I apply a release in order to lower it. Okay, here I have also the sustained, which means when I'm trying to do the attack, how much I want my compressor to keep on sustaining the signal. So the higher the sustained Okay, the longer the note is going to be held. So it's increase or decrease the sustain off transients. In that case, do I want this is the transient to be more sustained or not. So, as I told you, it's also just a matter off choice. Okay, So in that case for the vocals, since I wanted to be a bit punchy, I'm gonna raise the attack time to 7.1. Okay. And I'm also going to raise the sustained. So the good thing when I raise here the attack is that I'm also working on a good pronunciation off the words. Okay, so that's a double good thing for me now regarding the dynamics right there. When I have what I call the knee right here, the knee is actually if I choose a soft versus hard knee, the softening means how the compressor is going to start behaving when there's a soft need means that the compressor will act softly before reaching its full potential. Meanwhile, when there's a hard need means the compressor will act as an on and off switch. Okay, I prefer soft me. I don't really I'm not really looking for it for hardly which could be otherwise extremely practical in electronica dance music production. So the hardening would be really good when I'm using, For example, isn't the thighs, drums or an electronic drum kit? So the hard knee would really play a very good role. Okay, We might use no hardening in the case off the kick drum. Okay. And the game is how much gain I want to give to the signal at the output. OK, that's basically all the things you need to know regarding the compressor. Now, since I've been using a preset in the overview for the vocals, it means that it has also applied all the necessary values. When it comes, do we? Oh, how can I say when it comes to the vocal track? Okay, so I've already been using a certain I've already been using certain setting. I'm just making it a bit bigger right here for the attack and for the sustain. I'm also making it a bit bigger so that my vocal will be more audible and the transients would be present. And for the dynamic dynamics right here I have the vocal drug that that has some threshold that has been applied. I could also go all the way up 57 for the game to give it even more presence. Okay, now we're going to see in later videos that I can double the vocal track in order to make it more presence. I can use automation. I can use a vocal rider. So there are many things that they can do in order to make my vocals appear. I strongly been even after years off doing mixing in my own home studio. I believe that the vocals is the most septal track to mix. Okay, so now that compression has been taken, care off for the vocal track. We're going to move on for the compression regarding the snare drum on the kick drum. So for the kick drum just after the h e que stereo, I'm also going to be using the waves. Blufgan in the dynamic section, which is so let me find it right here. The h comp stereo. That's the one. Okay, since I have a stereo truck, So I have some settings right here that I can be using. For example, I have tight kit for a tight kick drum. Have pumping drums. I have the fat kick. Okay, so when I'm actually doing here on, I'm raising the attack time. As you can see, I'm raising the transient. I also have a bunch option right here. Ah, also have the ratio. I have the mix dry and wet. So how much the compressor should be acting within the mix. I have the output here that I can raise. I have the release time as we talked about. And I have the analog option right here so you can play with the different settings in order to discover how it sounds with each setting. So that's personally how I believe it's the best in order to learn how that works. So I believe that actually having this settings right here are actually pretty good for the mix. And at the end of the video, I'm gonna let you have a listen for each track a sample off the track without compressor and with the compressor, and then all of them together without the compressor and with the compressor. Now, regarding the snare drum, I'm also gonna be using the dynamics the H Cumpsty area right here. And I'm gonna be using okay now for the snare, I'm gonna be using the drums punch. Okay, so it has a release time that is lower, and it has an attack time. That is higher hands enhancing the transit that I have. Okay, so I believe those settings are extremely good for those following tracks. So regarding the tracks that we have, I'm gonna hear besetting a small sample for you to hear. So I'm gonna disable old all the compressors right here. So the saving it right here, I'm gonna bypass them, as you can see. No, they are bite best. And I'm gonna let you have a listen to the vocals first without compressor, then with a compressor. Those we love a girl Mollema, Lou Oka. That's here. Google. So, Uncle. Okay. And now we're gonna listen to the very same track, but with the compressor enable. So I'm going to go back and re enable the Transient and Dynamics one. Rosa Lover Garden Marla Malu UCA Fashion DeVol Song called Okay, now let's do the very same regarding the kick drum. So I'm gonna have a kick drum without the transient and without sorry the compressor enabled. And then with the compressor enabled. And this is with the compressor, a neighborhood, you can see that there's a bigger presence in the kick that's clearly audible. I'm also for the snare drum than enable first disabled the compressor then re enable it, and that's with the compressor enabled. So there's a much tighter drums right here. So let's have a listen to the three tracks without compressing and with compressing as a final thing for this video, disabling the compressor right here. And let's have a listen to the three tracks. Rolls Love Ago, Malu Luca Year. Good Evil Soup called and let's now have a listen with the compressor enabled for each of these three tracks, enabling that dynamics one under transit. Let's have a listen. Those who love a good other Malu, Luca Devoe called. So as you can see, the kick is a bit like electronic music star so I personally like it for this mix, but you might not like it, but also you're free to change the setting regarding the compressor. As you can see, the compressor can make a lot of difference. It tightened the sound. It gives more presence to those instruments that have the compressor enabled them. It's like a boost. OK, so it does boost a lot, especially when you have some notes that are not clearly audible, which can happen in the vocals since you have very wide dynamic range. Thank you for watching this tutorial and stay tuned for more to come. 10. Part VI - Reverb: Hello and welcome to Part six off tutorial number three off the Cuba. Siri's off learning While practicing. Today, we're gonna learn together how to use the reverb effect in our mix. So basically the reverb effect will allow us to give. And if you want a simulation off space within our mix, it will also let each instrument's it individually within the whole space confinement. So we do not have to use river for all the tracks except if it's a matter of taste. For example, in the mix ings that used to occur in the eighties, there would usually be a lot off river on the vocal tract. Nowadays, that's not the case on. Basically, if you study the acoustics and the theory off acoustics, we need to have the vocal in front. If you're going to watch a concert, you'll see that the vocalist is in front. Adding too much reverb to the vocalist gives an effect as it's as if the vocalist was sitting in the back and that's not what we need. However, we can use some reverb effect to make some instruments appear even more beautifully within our mix, such as the acoustic guitar in our case, the high hat, Tom's snare drum and kick drum within our drums. So, in order to maintain harmonious reverb within our mix and in order to reduce the CPU performances needed to make all the plug ins work together, we're gonna be using one single reverb effect. And we are gonna associate all these different tracks to this reverb effect. So within our tutorial right there, we're going right. Click here in that area and add an effect channel truck. So we keep a configuration as stereo and for the river plug in that we are going to be using there is one that are personally like because the river plug ins are sometimes extremely difficult to use its the i r. Life stereo. Okay, so basically, I love it for this project. There are some other plug ins that you can use for different projects, but this one is pretty complete. Even though it allows us to have only one room, which is a live whole one, you will see that it has several different parameters which we can configure. So what you are going to be doing is configured the presets once and for all and we're going to see how this presets are gonna be different for each one off the tracks. Right there. So, for example, we have the pre delay right here, so I usually do not use anything with it was the pretty late. So I leave it as zero No, for the river time, I usually use a river time for this track off around 1.22. Okay, so it's how much the reverb is gonna be applied. So you look here. You have the graph. So if I raise the river time, you're gonna have a lot more echoing. Okay, So a river time off 1.22 in my opinion, is quite OK. So otherwise, we also have the dry, wet and mix button right here. So basically, when I put the bottom to the dry all the way to the dry, it means that nothing no river will be added. And if I added completely to the wet button, it will be a completely revert sound off course. I need something in between because too much reverb will destroy the mix. So usually for this makes I found that value off 60 is quite acceptable. So I'm setting it right here to 60. Okay. Their vehicle. Now regarding the output, I'm going to keep the output at the same level. I'm not playing anything related to the volume right here. However, for the damping, which is a very important feature, the damping talks about the reduction off the echo according to the frequency. So in our case, I prefer to lower the frequencies within the lower range for them to have less reverb than the higher frequencies. Okay, so I have to filters. I have one high pass filter and one low pass filter. Okay, So for the high pass filter, which is set as toe 200 hertz, which I can change, I'm going to keep it like this because that's what I want. According to the e que off my kick drum. So I'm gonna lower it to 0.70. Okay, So if you want 30% less, then this case or 0.3 db less in this case, then the according frequencies above 200. And I'm going to keep it at the zero mark or the one mark if you want. So nothing changes for the frequencies above 200. And that's the set up that I'm gonna be using. No, for the different instruments. In order for them to pass through that new plug in that I'm using, I'm gonna hit on the sands right here. I make sure to have the sense elected on each track, and I'm gonna be using the f x one ir life stereo and I'm gonna make sure it's enabled right here. I'm also going to do the same for the high hat, for the terms for the snare drum for the kick drum, and that's it. Now I have different values that I can associate as to how much reverb is going to pass from that truck. So if I go all the way up, it means there will be a lot off reverb. And if I go all the way down, it will mean that there is no river battle. So there's here, this leveller that you can change so minus infinite it means no river battle and 6.2 It means the whole track is going to be completely river. So off course, both extreme do not give a desirable effect, except if it's something that you intentionally want in. It makes generally in electronica music. So in our case for the acoustic, I've given a value here off minus three d B Regarding the symbols. I'm using a value of minus one db for the toms minus three 0.8. And regarding the snare drum minus 6.3. And regarding the kick drum value off minus one. So now that all of them have bean enabled, I'm gonna let you have listen without the river first here, a certain measure and then with the reverb on a and you're going to see the drastic difference that this river makes. Let me first disabled the river on each individual track and let's have a first listen. Oh, just go Two freezers. Okay, so now we're gonna have a listen to that very same section, but with all the reverb enabled. So here we go for their acoustic guitar first, Then the high hat, thumbs snare drum the kick drum. Okay. I didn't miss anything right here. Okay, so be careful right here that you have the option to use the reverb to appear before the favor or after the fatal. Make sure to always use it before the fatal. You do not want any recurring reverb within the mix that then you have trouble finding why you're makes its clipping or right there certain unwanted frequency Always put it before the fatal. Okay, so that's it. Our four tracks. Now, let's have a listen with the reverb on. Oh, good. So you see, now there's a drastic difference. And also, some of the instruments which have been river appear more alive within the mix. And we have given our mix of feeling off space with at the same time, no need to be echoing everything. Okay, so I'm not really with the idea off echoing the vocals because you start losing the pronunciation. Okay? And that's it for this tutorial. Please stay tuned for more. 11. Part VII - Automation: hi and welcome to Part seven from total number three off the Cuba. Siri's off learning while practicing. Now this video is almost the end of the mixing part from the Q base tutorial in which we are going to learn about automation. So basically, automation will concern about how toe make everything automatic from fading and many other variables that we can modify thanks to the automation process off Cuba's. But first of all, we need to set up what we call markers, and we are going to make use of this markers in order to know, at which point the volume should change. Why is this so? Because simply the volume changing and most of all, when there will be no vocals and when there will be vocals will allow for the dynamics of the song to start shaping up. So basically, when you don't have any vocals, you will tend to have the background music in a higher level. And when the vocals kick in, that's when you will lower your background music so that the vocal gets the most presence. Basically, the reason we do that is because once one this once, the song is gonna be mixed down and we're gonna send it to the mastering process. We want the sum to be at zero db level as much as possible in order for all the sounds to come out off, out off the low levels and also Teoh create a certain compression in order for the high levels of the sound. Do not be over picking. So basically for the intro Now that just to explain to you how this is going to go we are gonna ah, start by adding all the markers and the markers off the song. Basically, the markers we have are so for, for example, for this song we have from measure want to measure six. We have the intro then from 6 to 14 for a swan 14 to 22 verse 2 22 to 37. The chorus 37 to 41. The bridge 41 to 49. Verse 3 49 to 57 verse four 57 to 72 with the chorus 72 to 81. That's where the guitar solo kicks in and 81 to 88 which is going to be pretty delicate. It's when the guitar and the chorus both off, um, kick in together and 88 to 96. We have an altro. So we are gonna insert two types off marker. We have a marker which will mark the start, and we have a cycle marker which can be used where we defined the position and the end. So since we are at the measure number six for the end, we simply have to market like this. So we are going to call this one intro, okay? And the length, as you can see, is six measure. Okay, so it will be from here to here. That's the intro that we have. Now we are going to our add a second marker. Okay, This marker is gonna be from measure six until measure 14. Okay, so ah, an eight length measure was going to are gonna call verse number one. Alrighty. So, for example, if you go right there, right to measure number 14 right here. OK, we can go to project on markers on. We can insert cycle marker. Okay. Once again, we start from 14 and this time we have to stop. We have to stop at 22. Also ate So as you can see, off course, the two verses are equal in that type of song, and that's for versatile. We're going to keep adding all the rest as we go along. So we have the chorus from 22 to 37. Okay, here. I made the mistake. Okay. 20 to 37 right here on 15 bars were going to call that course. Then we're gonna insert another cycle marker, which starts this time from 37 and that ends at 41. And that is a bridge connecting both. Then we're gonna insert another marker. OK, so 14 to 22. So as you can see as I'm moving along right here, when I move my cursor, for example, in this section tells me now you're adverse one. If I move it right here, it's gonna tell me now I'm at section three. Okay, so it's already understands where I should be. In case you're not understanding what the decimals here represent, you simply have to zoom right here. This is, for example, 12.2. This is 12.3. So 12.1 is here. Okay, That's why I'm using to have 0.1 just for the start, right at the start. So for the markers were now at the bridge. We're gonna add another cycle marker this time that should start at 41 should end at 49. And that's versed number three. So you can do that along with me right now. Then I'm going to go from 49 until 57. That's where my Verse four it's gonna be. And I still have four cycle markers, too, to add one that goes from 57 until 72. Also 15 just as the chorus previously. And that's another chorus. Then I'm gonna add a marker that goes from 72 until 81. That's the guitar solo, and I'm gonna add another cycle marker that goes from 81. Sorry, still 88 and this one is gonna be get our loss glorious. And finally a marker that goes from 88 until 96 which would be the outro that I have now. The reason I did all of this is because I have now certain points that allow me to know how the volume should change. Let's take an example. For example, if I want to go from the intro till 1st 1 I know that in the intro I do not have anything related to vocals. So basically, since I do not have anything related to vocals, I have back music only. And that back music needs to be as loud as possible. Okay. Now, in order to play with the volume of different instruments, since I have many tracks right here, I'm going to create what I call the group track. Okay, so I'm gonna go right here and create what we call a group channel truck. Okay, so my first group channel track is gonna concern the drum set. Okay, That's basically my concern. I want for the drums to have certain fader in my mixer that I can access in order to reduce all the sound coming from the drums. I'm gonna also create another group channel right here, which I'm going to call for the piano. The pad on the strings. That's another one right there for the base. I'm gonna leave its own fate, their own for the guitar solo as well. And for the acoustic guitar as well. Or actually, I could even add the acoustic in that fader right there. So now that I have created my my two channel group drugs, what's remaining for me to do is to change here at the output where they are going to go. So for the acoustic guitar, I'm gonna choose right here by going on the stereo out I click on it and I choose in the group's go to piano Bad and strings Acoustic for the base. I leave it as it is for the symbols. I'm going group it in the drums for the high hat. I'm gonna drop group it in the drums as well for the toms in the drums for the snare drum in the drums and for the kick drum off course in the drums. Now I have the bad right here that I'm going to put in piano path strings and acoustic. Same thing for piano. Same thing for the strings on somebody. Okay, so the favours that will remain for me the interesting failures that we remained for me if I look at my mixing console right there, Okay. The mixing concert can be accessed by pressing a three in my mixing console. As you can see, I now have these additional favors. One for the drums, one for the piano, Bad and strings. So these two are gonna be off interest for me as well as the bass, the guitar solo and the vocus. Now, something pretty smart that I could do. I could create other group channels. Okay, I could create one for the base where I'm gonna add the base right there. I could create one for the guitar solo. Let's take the guitar. So right there on put it in its group as well. And I could create one for the vocals. Now, I'm gonna ask me what's the use? There's only one single track for group. Yes, but that way, on the mixer, they will appear just near one another. It's actually worth to take the time to do that, because that will be easier to see on your mixer later on. So now that they have added the vocals never hit a three and I look at my mixer, look how beautiful they are. They have also their own color on the mixer. I can see them pretty clearly. So those are the favors I'm going to use in order to change the volume from one compared to the other. But for example, now if I change, for example, the volume of the snare, the kick, Tom, the Hyatt or the symbols, they're gonna change the global volume within this drums fader. So if I want to change the kick drum, for example compared to the snare, I need to change them right here. And now if I want to change the whole drums compared to the base, for example, I can change it right there in those fighters. That's the utility off having group tracks. So now that I have group tracks is gonna be much easier to play with the volume. For example, let me first arrange the volumes off different tracks within one another. Mostly I want, for example, my guitar solo. I felt it was pretty loud when I was working on it recently. So I'm gonna, for example, in the guitar solo. I'm gonna make sure, first of all, to lower it, Okay, for now, just just for now. And then what I'm gonna do is the following. I'm gonna go here at this measures until measure six. Okay. I'm gonna for the drums, choose. Choose for the drums. The volume option. Okay, so for the drums, I have, for example, eso I have the input filter have. Here we go. So, uh, yes, it's already chosen. Actually, the volume is already chosen, so I do not need to add anything more. That's the volume that I have right here. And if I want to write or read for the volume, I simply click on the W. That's when it's gonna be writing the automation that I want. So writing the automation that I want means that, for example, I could have my mixer open as the song is playing. I can change the fader while the song is playing, and you're going to see that it's going to write how I want my fate or to move, for example, if I have my drums. Well, actually, the drums, it's not very useful because they're not in part 1 to 6. Let's play with that fader the piano strings right here to activate the right section from it, and we could, for example, start right now by hitting the bar and changing the favor. At the same time I hit my space bar in order to play the music and I'm gonna play with Fader in order to change the volume as it's playing so that we record the automation on the fader there. So now you see, I have raised the volume from bars 126 Okay. And I have lowered it as soon as the vocal kicked in. So now I'm going to erase the W right here. I'm just going to keep the are open the read automation open. And you see that it has written the automation right there on the volume on this section here it's risen up and then it gets back to a normal level. So let me hit the play and start that measure number one, and you're going to see how this now favor is moving on its own. So you see, the favor actually gets lower when the vocal kicks in, because that's how I have defined it. So I could play with the Fader. But I could as well play with those points right here that I have defined. And how do I define a new point? Let's say I want to define a new point. I simply click anywhere on that line. And that's where a new point has been defined. If I drag here, the point is going to drag the volume down. I could put a point in between to drag it like this, for example, drug, drug it further away or even raise it up. I can change it in any way I want. Okay, If there's a point that I do not want, I simply kick the point and I hit delete than the point gets erased. So here I select the point. Like this puff, I dilated. It's gone. Okay, so that's one way to see things. I'm gonna lower the volume until 2.85 so that I don't have much of the music bothering me. Okay, So, uh, here I have kept the favor at 6.33 and now I'm going to keep it that way. I'm going to explain to you later on what's the process that I'm going to be doing in order to do the export off my whole mix down. So now that I have started from 1 to 6 for the base, I usually try to keep a pretty steady level of the base. And I think the level where I am right now as the base pretty decent. So I could look, for example, from measure. Want to six. What's happening with the base? I could hit it as a single track. I could see where it's hitting right here, for example. Okay, so it's meeting at around minus 6.8 db. That's pretty okay, because when I'm going to send it to the mastering process, this place is gonna come out off. Its zone is going to be hired up. But I don't want it to be picking before doing the mastering process. So I think that's pretty okay. The how it's how it's being monitored for now is pretty OK, so now for ah measure between one and six that zone. That's the only thing that I need. However, when I start going from Verse one till Verse two, okay, that's when things start to get a bit more interesting, actually, because between verse one and verse two, I have a certain change. So at the 14 and that's where I would like, for example, for my a piano pad and strings to actually start to be a bit higher. So I'm also gonna hit on the W note. I'm going to go to number 12 and at 13 that's where I'm going to start rising the bar. So let's go on here I rise it progressively go. And here I have lowered it because that's where the drums start to kick in. Okay, now regarding the drums. Okay, as soon as the drums kick in. What I can do for the drums, for example, is to have high kicking a two first when the chorus starts, and then when there's a filling within the course, I can raise the volume even a bit more to give some dynamics to my drums. So let's see, for example, for the drums we have the W, which is enabled. Let's raise the volume like this and see what happens. So you see, what I did here is just raised the volume when there waas the drum roll, both. So now that Verse three has started, I could, for example, lower the drums because that's enough. I have shown the presence of the drums. I can now lower it within my makes to sit with the other instruments, however, between the chorus and the bridge, okay between the course and the bridge. I could, for example, raise. While not I could I should raise the volume of the instrument is because there's an absence off vocals. And that's what you are going to do right now. We go back right here to the mixer, and we are gonna hit space bar. And you've seen now we have lowered again the volume of the music. Now, we are going to see, um, for example of in verse three and verse four. So if I go to 49 if I go to 49 right there, I'm also gonna make sure that there's some emphasis on the music or even the drums, this time between verse three and verse four. I'm gonna start with the drums on it. Yeah. Okay, so that's it for the drum roll. I'm also gonna do the same for the piano. On the strings, Of course. Once the filling is done, I make sure to get back to the good level in order for me to avoid peaks as much as possible. And now that they have my course, that is starting at 57 here I am at 52. So around 57 for example, when the course is going to start, I'm gonna make sure also to create an automation. So sorry this video is bit long, but I'm actually working. All the automation is with you. So that you can follow. All belong so for now for the automation. With the chorus starting, I'm also gonna emphasise the drum roll and the piano path. Please make sure every time that the W is selected. Okay, let me do the same for the piano strings. Okay, Now that it's done, I have to take care of the guitar solo. Now, the guitar solos with delicate because it sound with was pretty loud, so I'm gonna make sure to reduce it as much as possible. But before the guitar solo Stark, I have to give an emphasis on the drum roll and the instrumental also. So I'm going to do the same. Okay? And I'm going to do the same for the music, the piano and strings. And now that there is going to be a vocal as well as guitar solo, I'm gonna make sure that the guitar is pretty reduced compared to the vocal, so I'm gonna fade it out. Oh, but here I made a mistake. I should have enabled the w. You see, sometimes you make those kind of mistakes. Let me get back to where I waas. So that's just before 81. So let me start at 79. She should always pay attention to enable the w. Otherwise, the automation won't right itself. - So you see the part where there was a guitar solo on the course? I preferred to shut the guitar solo down so that I could focus on how the chorus is being sunk. So however, I have to also fix the entry at 81 in the guitar and the course, I have a drum roll and I have to raise a bit the instrumental just at the filling. You know, I'm gonna do the same for pattern strings. And now, as soon as the vocal is down So when I start the ultra, I'm gonna make sure that they have a strong drumming and a strong guitar and pat strings. Now that there are no more vocals. So now that these two auto emissions have been done and have been completed, I can simply disable the W. But I need to keep our enabled so that they are played along. I can simply save my project right now. However, what I'm gonna do is that I'm gonna look at the whole level. So even at a minus 6 33 db, I still have a beak off four decibels. So there are several things in order to solve that. One of them would be to reduce the volume off each individual track by the same amount. Because I have played with the relative level now so I could play here instead of playing in the mixer, I play on the single track and reduce the volume off every single track on its own. So I'm going to reduce it by almost 3.76 TB. I'm gonna do the same right here. 3.76 TB. So that is for each channel. The same amount. Okay, 3.76 TB. The reason is because I need what I call enough headroom. The headroom is gonna be like this available space which going to make the mastering process for the mastering engineer Easy in order to make all the notes come out so you can hear them clearly and loudly on any device on which you're listening to your music. Basically, I advised for the mixing engineer on the mastering engineer to be different or to have at least a certain amount of time right after you mix your song to go and master it. Of course, you need to have a treated room. If your if your room is not treated, the result in the mastering are gonna be pretty different than if you're, um, is acoustically treated. So keep that in mind, please. And that's how we lowered everything to minus 30 minus 3.76. Debbie. Okay. And we're good. So now if I take a listen again, I would see that I'm not gonna have a problem regarding here. The fader. Okay, so now the final, the final thing that I have to do is to do a whole selection until the music stopped from the whole track and to do the first export. Okay, so my export is gonna be off course in a wave format. I have to do an exporting away format to keep all the data completely un compressed. Okay. And I'm gonna call it mixed down version one. Okay. And I'm gonna hit export right now. So while the song is exporting, I will be able to see and to notice how much Peking has happened. If a lot off picking has happened, actually, I will have to lower the fader at the end. And if there was enough headroom facing the maximum peaking was that for example, minus 60 B. I can feel that they're in additional two db that I can wait. My headroom basically is to be at around minus four db. But it actually depends on what the mustering engineer requires. So while this processes is happening, you can Ah, well, you just have to wait. But once it's done, you'll have to verify your picking. Okay, so we're just waiting a bit right here in order for it to finish. There are several tracks of attic that takes a bit of time, but anyway, just to sum it up a bit, we have set up the markers off our song in order to know from where to where we should change the volumes. We have also made group tracks that were, you know, shown to be pretty easy to work with. And finally we have worked on the automation, which, as you can see by clicking on the W iton ism it enables me to write the automation on the channel and the are enables me to read them on the channel. So it's a bit like the old mixtape recorders where you're hitting the play and the record at the same time in order to record something off your own. And basically, that said so Now if I take a look if I take a look at my mixer, OK, well, I had some additional speaking, as you can see. So what I'm gonna do is that I'm gonna lower it until minus 9.34 I'm gonna go back and do an additional mixed down. Well, I'm still gonna call it version one. Let me just overwrite it, okay? Because this other one contains picking. I do not want any peeking in my track. Okay, so basically, the average off the headroom should be around minus 40 beats. Okay. There are a few peaks that are over for over mines for the B. But overall, I want my song not to peek a lot. Sometimes engineers required that even the highest speak to be at minus four db Well, you'll have to figure out how much you need to reduce your volumes. The more tracks you have, the harder it gets to be working on such a thing. Make sure not to use limiters, though or not to use anything like this because that will destroy your mix once you send it to mastering when you send it to mustering you don't need or you shouldn't have any limiter put at your mixer. Fail out at the fader at the final fate or sorry at your off your mixer. You shouldn't have any off these plug ins. Okay, Just keep it natural. Just let the dynamics flow naturally known it for compressors, of course, except for an individual or single truck. But no need to compress the whole track altogether. Now, regarding the reverb, you can still add it in the mastering process sometimes. But if not, you're gonna have to add, for example, a main reverb at the fader and then send each of the song at the fader Ah, to the amount of reverb that you want, just as we did with the Effects channel. Now I've decided not to give any river for my vocals That my own states that my own choice Some people cannot tolerate vocals without river. As for me, I'm okay with it Without any touch off reverb That doesn't bother me at old. So now if I look right here at three. So you see, my high speak is at minus five minus 1.5 db this time. So that's OK. I haven't peaked. Okay, that's good. And that's where that way I have exported my mixed down into a wave form 24 bits off course . Make sure that I always keep the same thing that I have in my project. 48 Gillard's 24 bit. And now it's makes down into a single drug that I can send for mastering. Thank you for watching this very long tutorial and stay tuned for more to come