Music Production in Ableton Live 9: Part 7 - Mixing Tips | Tomas George | Skillshare

Music Production in Ableton Live 9: Part 7 - Mixing Tips

Tomas George, Music + Audio Production Instructor

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
2 Lessons (17m)
    • 1. Welcome to this Class

      0:27
    • 2. Mixing Tips

      16:09

About This Class

This is Part 7 of my Ableton Live 9 series.

This class is all about some of my mixing tips in Ableton Live 9.

Transcripts

1. Welcome to this Class: Hi there. It's Thomas George, and welcome to this music production in ableto live nine Part seven class, which is about mixing tips. It's in this class. I'm going to give you some essential tips for mixing your music in the arrangement view in ableto live nine. This is a part seven class. If you're brand new to able to live a do recommend checking out the other classes first, however, refuse ableto like before. You can always jump straight ahead and check out this class, which is all about mixing tips. 2. Mixing Tips: Hi. In this lecture, we're going to have a look at mixing. So I've got a track care called Scavenger by an artist called Four Fox on. What I've done is I've given this a quick mix, and I'm going to explain to you what I've actually done. What I've done really revolves around automation on adding a few different effects. So we've got a few different tracks, so I'll go through the individual tracks and why and how I mixed it like this. So, first of all, we have the base before all this, we actually have a count in a click. This is so I could just line the tracks up quite easy. So ignore the click at the start that Suman and then we have the base that enters here. I thought the base sounded a bit weak. So what actually did is I added some overdrive. So this send here goes to send free, which is overdrive on. Then I do actually automate the overdrive for out at the moment. It's here than it does increase. So if we go to hear this more overdrive on, then it drops down again on the increase. Is they have a drive for this section just to kind of build up and add a bit more aggression. Then I dropped over drive again. This section. I just play a bit of the song so you can hear the sections with the overdrive. Let's just have a listen to the part where I gradually increase the overdrive to add a bit more attention to the song. No way. Also, I've added a side chain compressor. This is because the kick drum and the bass can get a bit too loud when the both play at the same time. So whenever the bass drum place actually ducks down some off the base part. So if we look at the game reduction here, we can see it reducing when the kick drum place. That's basically what I've done to the base of also added on a bit of U Q and that part's have also taken at some of the high of the week. You just add a bit of variety in the thought by ear. This'll sound good in the next, so watch the EU que no way contact some of the high end, then bring it back. So that's pretty much beloved into the base. Let's have a look at the kick drum now have other that compressor on. Also Yuki. Quite a large peak on the mid and high to add kind of punchy sound. Toothy kick. There's also another kick here that's just so low, this one. Also, by the way, you hold down the command bottom two solo more than one track at the same time. So these are actually creating a bit of a harmony for the kick. So the 2nd 1 is actually pitched down slightly. This is really just the lay of the kicks on to beef them out a bit because the original track just had this one single kick and I really didn't think this was hard hitting enough . So basically, I laid the kick on the pitch this down a little bit. You can try picture and got more bitching down if you want to have a bigger fuller sounding kick. There's also a send return for overdrive here, so there is actually overdrive on this kick as well. Just to make it more point, you sound also got the hats here, So the hats I basically took out all the low end because I don't really think there's any point having the low end because these frequencies can just create a muddy sound, so have boosted the high end on Have also added a compressor to the hi hats way. Have this sense part. I haven't really done much to this. I've added Aniki on Have also added overdrive. Uh huh. Overdrive increases as the sun gets a bit more intense towards then. E do you believe it's a good idea? Toe Have automation for out your song ready? It can give a bit more movement to the peace because if it's just the same all the way through, it weren't really sound that different in dynamics and in the color and in range. So I like to add a lot of automation just generally for at this song, really, just to create movement. Okay, next is the bass synth. Let's see what I did to this. Of course, you have to listen to the overall mix. There's no point just getting single instrument sounding good if they're not going to sound well together. So always lesson to the track in the mix, as well as just listening to the track separately. So let's have a listen to the space added some reverb on here and also this fifth bus, which is a base jump. So I put this through a base. Some just add a bit more power to this part as well. So let's just have a look at the center base ump. These are all able to stop plug ins. I haven't used any third party plug ins for this session, so it's just a base jump with quite a lot of gain on. That's just so low, this base ump and let's hear what this sounds like. Also got the bass part going through the bass AMP way. See on here on the basin. Okay, The next one is a mid synth. So, Nick, who is four? Fox actually sent me over. This is one stem. I thought these parts could be mixed differently, So actually chop this up and made a new track from this. So this has filtered delay on because I wanted to have a bit of delay onto this part. So let's just hear this with their filter delay. E just boy added a bit more for writing movement with this small amount of delay. Also, I could have automated all this as well, but thought it was just easier to create a new track. And to put these effects on here next one is the mid sent. Another thing that I've done you're probably noticed have added a lot off pan. So I do believe panning is very important, especially for the higher instruments for investments like the kick drum or the bass guitar or a synth bass. I wouldn't necessarily use a lot of planning. Generally, you want to have the lower instruments or the lower frequency instruments with less or zero pan on the high. You get the higher frequencies you get. You want to have a broader pan. I've also added a lot a lot of automation for these pans, so they flow between the left and the right speaker on. They flow and match with over instruments that pan as well. So it's a good idea to have a look at the planning. Make sure you don't pan too much one end where your mix will sound a bit left or right heavy to try and get a good balance of left and right panning. So let's have a look at this mid simply. This is a really nice instrument that four Fox made. Let's listen to this. So I didn't really do much to this because I thought this this instrument sounded great. So I just added a bit of eq. You took out a bit of the low end and boosted the mid high, and then also did add some pans here. So if we listen to this, it will slowly go from the right to the left. Then we have the snare. I did a similar trick to the kick drum on this. Now here. I actually laid this up twice, and then that I pitched one up and one down. Also, I added reverb on the filter delay, but automated the filter delay for certain parts. Let's just have a look at their delay. So, for example, here, at the end of the phrase, I added delay on this ness I actually copied over this automation to. So just listen to this. Now, just here There's a bit of delay just going to solar this nest so you can hear this clearer . I just thought this added a bit of variety to the song. And so this is the original snap, also with overdrive added with the highest. Now, just to make this snare sound a bit bigger and the lowest now, so this now as later to just to really be for up. And then there is another synth butts, which I did quite a lot of planning with a simple part two. So I pan tail end of this symptom on here as well. So I do believe it's a good idea to kind of create a mood or atmosphere in your mix. It's not just about trying to make stuff sound really clear or perfect or pristine. It's about creating a mood in your mix. So I just show you what I'm actually doing to this mix and let's hear it from the starts. Obviously, when we banks sister, we're going to cut off these clicks. This is just so I could line all the instruments with each other. So on there, they're completely in time. - No way, way, way, way. - So that's basically a quick mix of this song. Scavenger by four fucks, I thought I just go through and show you a few of my tips, which basically revolve around leaving space for the kick drum on the base so I would normally side chain the base. If the frequencies are very similar to the kick drum, will side chain it to the kick drum and then compressing certain instruments if need to be a bit more hard hitting, I think about of overdrive, maybe to certain instruments, like a snare on, then adding a lot of automation ready and trying to create more of a mood out of the mix. Rather than making the track sound like it's being copied and pasted. You really want to make it sound like there's a lot of movement of fluctuation in the mix on in the song. So thank you for watching this lecture. I hope you found some of my tips useful.