Post Production Modern Secrets | Eddie Grey | Skillshare

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Post Production Modern Secrets

teacher avatar Eddie Grey, http://vimeo.com/eddiegreymusic

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (51m)
    • 1. Intro

      2:10
    • 2. Editing The Master

      6:53
    • 3. Manual Stutter Edits

      8:27
    • 4. Re Sampling

      8:26
    • 5. Post Production FX

      16:04
    • 6. Outro

      0:30
    • 7. Using Swing (BEFORE and AFTER (Skillshare)

      8:01
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About This Class

Learn Post Production Secrets from Award Winning TV Composer Eddie Grey to take your production value to the next level! In this course we go through a crash course in production technique to make a finished track sound that much better.

These techniques could be used in the mix or after the fact like shown in this course. Either way, Eddie will show you how to utilize stutter edits, tape stop effects, and even transient shapers to give your track that secret sauce!

Meet Your Teacher

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Eddie Grey

http://vimeo.com/eddiegreymusic

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Transcripts

1. Intro: Hey, What's up team? This is Eddie gray back at it again today we're talking about post-production secrets. Okay, so today I want to show you a technique that I haven't really shown anywhere else. I thought, you know what, let's get into it. Let's show people how to get to work. And so what I'm gonna do is flip this session. And I'm going to kind of work under the impression that you didn't have enough time to really put your stamp of approval on your track. Maybe you had to deliver it. Maybe you just had to move on to the next client, whatever the case may be, you still want to go back and add a little bit of magic to it. Now most people tell you what. We're going to do, all of this work inside of this session. And this is exactly what you and I are not going to do. So here's the existing session. They're going out. And the reason we're going to get out of the box, so to speak, is because we're going to think differently before I go on into this session, I'm going to create a track alternative here. So I have developed a post-production track alternative, It's right here. That being the case, I need to close all of these tracks L, I don't need anything inside of my session. You could have the effects on there if you want. I'm going to hit Shift command I to import a file. And I am looking for this track here called therapy. And we're going to bring in the full mastered version. Now of course, this is the mastered version. It's imperative that we turn off any and all mastering plugins that we may be using. So we're gonna go ahead, click on the channel strip setting and we're going to reset the channel strip. All right, then, now this is square one. And I'm going to show you a couple of things to make your song a little bit more interesting. 2. Editing The Master: Well, the very first thing is make sure that your markers are setup. That's going to really help you visualize the track. All right, and then after that, you need to listen to the track from beginning to end. You want to grab your phone, take notes while the song is playing out as a really good idea. Let's go ahead and listen for something. Alright, well, right there we could have added a slowdown effect, not saying you have to. I'm just thrown around some ideas here. Now remember this song is already mastered, so we're not going to add any additional processing. Okay, So that could be a cool transition there. I'm not saying we have to go and pull this back and see what it sounds like. Well, we could do a stutter effect like that. Let me switch over from b over 2 division on my snap to grid and let's see if we can make something else. Okay. Yeah, So then basically we'll take these or divisions that I'm using the help tag to help me along here. Alright, so we could do so like that. We can also just shorten these a little bit. Right now There I am off the grid on ticks. Let's listen to this. I actually kinda like that to be honest, but in order to pull it off, we want to make sure that you apply a little bit of a fade. Let's check this out. All right, So little things like that that could really make the difference. I'm not saying the previous Phil wasn't good enough. I'm just saying you still want to put your touch on it, but you just didn't get the chance to for whatever reason, or you just need a new workflow. And I want you to try this out. All right, let's keep going here. Okay, I got one more air. Okay, So think the way we're going to pull this off is we're going to break this up into two. Yeah. So I'm going to chop this guy in half. And then I'm going to create two audio tracks, okay? Then I'm going to bring these down. And we're going to pan these by means of proof Vireo pan. So let's go ahead and click here and this over to the left. All right, Good. We'll do the same. On this side. I'm going to remove low-end in both cases just to make this a little bit easier. And then when we do transition, it feels a little bit more natural. Hopefully, let's let's take a listen. Yeah, so that was really nice, right? That's something that would have been really challenging to do if I was inside of the session per se. So the only thing with this work is you want to make sure that there's no clicks or pops. We'll go ahead and take your time while you create your transitions. Okay, so that's not a good click actually came from up here. So we're just going to create a very slight fade. These don't have to be audible per se. Okay, So actually here's another example where we can pull this off. I think what I'm gonna do that do 30 seconds. Yeah, let's try this up. Okay, So we could do this kind of thing where he creates theaters all across. Let's see how this sounds. Yeah, that's way more interesting in my opinion. Let me get off of the grid here by switching over to that. All right. Check this out. Right now in order to pull that off, I do have to make sure that this is louder. And then again, going back to the concept of fading to avoid clicks or pops. Alright, good. Dame goes not just for fading out, but of course, fading in. It sounds a little bit unnatural. Well allows those. All right. Now would take a lot more time on this, but of course I'm just showing you here. Are that actually sounds pretty decent. And let me just increase the volume of that one more time. Yeah, listen to that. Okay. And actually here's a perfect scenario where I would add something that originally wasn't on this session. I would throw on a riser. Now I'm looking for something that's pretty much a bar long. So let me click on bees here and let me just search for or Beats one bar. Okay, we'll go with this one. I'm not saying this is the one that I would add per se. It was kinda giving you the example. Let me just see where that beat comes right back in. All right? So say we like the fade there, but it just wasn't enough. I think it comes in here. Oh, right. And it's right on the one actually. So then what I'll do with this one is I'll bring this in on the right side, then maybe you just pad it across. Let's see what this looks and feels like. Yeah, maybe cut it a little bit earlier. Yeah, I'm gonna go ahead and cut it right there. Alright, so that now got a little bit more impact, a little bit more magic. Now look, we're going to transition into the extended training. I'm going to go over some post-production secrets that have never gone over before. That'll take your songs to the next level. Take good care. Stay up. 3. Manual Stutter Edits: Hey, What's up team, Welcome to this extended training or to thank you for the opportunity to be able to show you some of the things that I've been able to pick up along the way. This methodology is very unorthodox, but it will absolutely get the job done. And it will answer that unanswerable question, how do they do it? So I'm going to show you some things that have never showed anybody before. Here we go. First disclaimer, this is actually not a song that I wrote or collaborated on. I receive a lot of music briefs and music projects. And this was one of the songs that was inside of those briefs. And really what stirred up this project, this idea of post-production secrets, was listening to this song and thinking, this could have been much better. It was okay, but the execution could have been much better. And so I decided to make this training to show individuals some tricks that could really bring their songs over the top. Most of us can actually write music, put it, put it down on paper, make it happen. But sometimes it falls short by way of creativity and execution. Here we go. You are, so you're getting the general idea by this time I was very bored. It was well done. There's no question. And especially for a TV song, they did a fine job. But I do believe it could have been better. Listen to this next part. It's like a breakdown right around here, check it out. This part got really boring to me. And I know everybody's so different with their subjective taste. Burgers felt like as far as harmony goes or something much more interesting could be happening here. Though anyway, this is basically the gist of the song. We go back into this section and then we end with, all right, so anyway, after listening to that, sort of thinking about having a session where I show some of the techniques that I use on some of the trucks that I work on. Now, usually you would do this in the session itself. You would work on the software instruments. You would perhaps bounds sections or groups down to audio and you would treat them in this manner. But to me, this methodology is much more interesting and allows for way more wiggle room. Of course, there are some constraints because we have committed. But in having some limitations, we can experience a certain level of freedom that we never have before. Let me show you this metamorphoses that this song has gone through. I showed some of these techniques. So again, the song has already been mastered. And when I looked at the overall reading, I thought it was fairly loud. Check it out. So they're coming in pretty hot. So I decided to just put a limiter on here. I just put a little ceiling just to make sure that we don't have any serious peaks. And so here's our level now. A little more conservative. And you heard one of the changes that I threw in there, one of the stator effects. Let's go to the very top here. When the song starts a thought, we could use a slowdown effect just like this. Right out of the gate. We're making this way more interesting. We're just capturing the listener. Here. We threw in my favorite stutter effect. You can see that these regions have been chopped up. Check it out. So all I do with these kinds of sections is take the snare hit. I use a value of 16th notes on the graph. And then there it is. Division is my snap to grid. And then I just hit Command R and we get this. Really want to get fancy. You can change the gain, so increase the gain of that. I'm using. Speaker food's fine Plug-in, the control gain. So maybe I'll increase this by one, reduce this by one, and then increase this last one by three. So then, now these look a little bit different overall and sound a little bit different at that. So here's my fear, we take that same trick, right? We bounce them off to audio. You can see that I chop them up a little bit different. Looks like I am off the grid. Let me confirm that. Hold on. Yeah. So I'm off the grid on these and I bounce them to audio pan one side to the left, one side to the other. So here it is, right here. I've got two of these. And then I bounced these other two with a value of negative 2 or 1 or step down. So we have this really cool effect, like it sounds like it's kinda coming down. That right there in and of itself sounds really good, right? Really transformative. And it's really bringing this song life. Well, let's see. We did more stator effects here. Check it out. Now this time, I did not borrow from the snare like I did before. This is what I was doing before. If you may have remembered, I was doing more like this stuff. Right? And I was copying these over time. I took from the one of the next region. And we got this kinda like that where you hear the snare and then the kick parts, but here's what I had before. Yeah, either way. Well, that's pretty sweet and I highly recommend you play with the region gain. So again, make this one maybe a little bit quieter. And then I'll make this last one a little bit quieter too, just so it sounds dynamic and it moves. Also do not underestimate the value of space. You can see that means that the mark heat saw I just chopped off. That part. Sounds way more exciting without a check it out. We've heard this part so many times, it's become redundant. And I do believe that the listener gets tired. And so it's important to try and keep people, music publishers, bands on their feet, check it out. Also, there's a lot of magic in not necessarily automating this out. There's a lot of magic and quite literally just taking it out. Sounds like a vacuum sucks it out. Yeah. That's a great sound. 4. Re Sampling: I know I'm not the only one. When saying, you know, I wrote a song, I put some for now. And then a couple of weeks later or months later I thought, Man, I really should have added x. Well, you can still add it, especially if you're not blowing the song up. Now this song has already been mastered. And I could tell just by the listening levels, it's super loud. But that doesn't mean that you can't add something to taste. Take a look at this riser here. Yeah, So that to me was a lot more interesting than just this. Like there was no energy. I just got mastering that part. We go back to the usual stuff here. All right, good. There's something else that I'll show you in a second. And then finally, we're going to take it home. All right, I especially felt that those snares could have been a lot better. Another technique that I like to do is bring this over to another track. And then on this track, I like to add some kind of transient shaper. Let's go ahead and utilize Native Instruments. Transient master, just because it's so subtle. And so we're going to lift up the attack so that when these snares come in, they slap a little harder. To compare that with this. So we have a lot more going for us by way of excitement here. And I'll maybe I'll lift this up by like 0.5 dB. Let's see if we can do that. Just adding a little bit more energy, you could do that across the song. So every time we play that turnaround, we can bring that down. Let's see if I remember where else we play that I select. For example, here, we can go ahead and bring that down like this. So I know you're thinking this is a little crazy. Eddie gray has gone mad. I cannot believe he's doing all of this unorthodox stuff, but let me tell you, it doesn't matter what it looks like so long as you get across the finish line because all that's going to matter when you look back as did I make it or did I naught and was my success there or was it not? I want to make sure that you get it no matter what, no excuses. You want to make the best music possible right? Now, let me show you some other tricks that again, you probably have never seen before. Now this is way out there. Okay. I'm going to go ahead and take the same track. And I'm going to set the output to no output. Now from here, I am going to insert one of the most incredible, in fact, two of the most incredible plugins, insofar as the finger by Native Instruments and Tim Exile and stutter edit by isotope. We are going to resample this song. We don't need to hear it anymore. And so I'm gonna go ahead and set its output to know I'll, but you could also just mute it. So visually this makes a little bit more sense. And if you've never used a stutter edit machine, re-sampling, such as this, you essentially side-chain it to the source here, like I've done here. And what that does is it enables it to play through this software instrument. So here Take a listen for the song is actually playing through this sampler. And so what I decided to do was to go ahead and run it through not just one sampler, but two. Now what's really interesting about this is normally if you run it to both of these at the same time, of course, the song is going to be playing not just through this instance of the finger, but also through stutter edit by isotope. So what I decided to do then was to open up my automation lane. And when the finger is doing its thing, then that's what we're showcasing. And stutter edit is essentially on mu. You can see the automation data is dead. And then of course, we switch that up towards the end of the song and we feature stutter at it towards the end. In fact, let me go ahead and color this. Just so it looks a little bit different to our eyes. All right, so let's check out the changes that were made with resample. So we're listening to the song through the plug-in. And then I perform various pieces using midi note on and off messages that then are going to trigger various effects inside of the finger. Let's check it out. All right, so just that little bit made it that much more interesting. Let's check out this part. To me, this was the most plane part of the song and I needed something else. I needed some juice, check it out. So this is what's going to separate you from the rest. It's going to be all of the little details. Trust me, I'm telling you do the small things in that will separate your you don't have to be over the top, but show people that you care about your life and you care about your music. Alright, without that, this is what it would it sound like? Okay. Remember? No. All right. And even if you thought it was a little over the top, you could have used it the second time around. Remember every or to eight bars, something should be happening. When we transition into stutter edit. It works in much the same way that really is nothing else to say. At this point, the finger is long gone and we are resampling through stutter edit. Let's check it out. Yeah, so on that section right there, I made sure to bring it up because I thought it would sound a little more interesting. Field was louder. Your check it out. The details. The details are, uh, here's the end. 5. Post Production FX: Check out this last tip. On top of the edits that we did, various manual stator effects and adding a transient shaper, adding risers for energy, that kind of thing. You can also add a little bit of post-production effects. You haven't heard of endless smile by Datta life is probably one of the very best plugins. And so what I've done is I've added a very little bit of it to, to a certain section of the song that again, I thought needed some energy. So here it is, right here. I'm going to play without it first. So again, I felt this could have used more energy. So we're gonna go ahead and uplift the track a little bit. Check out the reverb. Go remember without it sounds like this. And just adding a little bit of ambiance to the room. So little things that you can do to really separate yourself from the rest. Remember that everybody has the same software instruments. The playing field has been leveled for the most part, it's up to you to separate yourself. These are some of the things that you can do right now. Do just that. My last tip, not saying that you have to get this plugin, but it's something that I really like. It's called Larson's mastering console. Now, I will throw this out there. If you run your song through this, your song will sound like it's coming out of a real console. It has that analog field. And so you're probably gonna have to spend a little bit of time gain staging it. You can see that I set it to a value of negative 1 to, to try and get there, let me see if I hit it. Yeah, so it sounds so much more live even with a negative value because it's coming through this console and giving your song that analog feel. So it's amazing what will happen if you just run your material through some expensive sounding stuff. Now ideally, we would want to run this through like an SSL and actual channel strip or compressor, what have you. But in this case, this is what we got. And to be honest, it sounds really, really, really good. But that's not all. We're not just going to send it through here. We're also going to increase the frequencies in certain sections. So let's look for maybe right around here. It looks a little dead in terms of activity. So maybe we'll add it at bar 23. Let's check it out. All right, Now because the song did get a little bit louder, I'm going to insert a gain plug-in right at the very top here, just so we're not hitting everything so hard. And maybe I'll back off at a value of negative 2. Let's see what it sounds like. Yeah, that's nuts sounds so much better. And I'm not even having any EQ yet. But let's see if we can find something here. Okay, let's see what happens if we add a little bit of EQ information at three k here. Let's see what happens. But actually sounds really good, right? It just kind of gives it a little bit more life. So I'm gonna go ahead and add this during this specific breakdown. So this is under the assumption that you try to do your best or maybe you were in a hurry and you just couldn't perfect the song. Ideally, this is not how you would want to do it. But hey, whatever it takes. And I'm not saying that you can't do it this way. I kinda like it. I kinda think it's a smarter approach. You're just handling post-production in that section. And at that time here, Let's listen to this. So remember without the plug-in, it would sound like this. Okay, We'll bring it back up here to a level ten. Let's go ahead and okay. All right, And then at the very end, I'm just going to add a little bit of high-end Xin in order to access this parameter, I just enter latch, I click on the parameter and then I exit latch. I have that sets of control Option Command L. And let me go ahead and just make everything from then on, just pop a little bit. Let's see if we can get this to shine. I love to listen to that one more time. And you can see that my overall listening levels are much better than when we first started check it out. Yeah, we're doing a little bit better in that regard. And so let's go ahead and bounce this. Let's see what it sounds like. Let's see what it sounds like compared to the original. Alright, so we didn't do all that work just to make sure that the ending was not great. So let's go ahead and make sure we put the proper time in. You go ahead and click on the volume parameter here and apply a little bit of EQ on the way out. All right, Control Shift gives me the keyboard modifier to create a slope there, Command B. Let's bounce this out. And because I want to compare apples to apples, this is an AIFF which is the equivalent of a wave. So that's cool. I'll just bounce it. 44, I think that's where we started. Our eye normalizes off, which is a setting that you definitely want. And then I'll just write on this. Let's see here, Master. And then I'll write treated. Okay. But we're going to bounce this. So let's go ahead and take a listen to both of these inside of exposed by mastering the mix. All right. So the verdict is in check out these numbers are track is at the top. And not only do we have better L UFS numbers, which essentially are going to translate into all modalities, whether it's streaming computers. People are going to listen to your song and have a better user experience. My decimal true peak is sitting right where it needs to be between negative one and negative two decibel true peak. So essentially I'm not going to get any clipping if I submit this to Spotify or Apple Music, and then they run through their own codec system. It's not going to change the quality of my recording. And then on top of that, I have a better dynamic range than the original by using this treatment. And I really think that happened because I was using that Mastering plug-in by IK multimedia. Alright, so let's go ahead and take a final inventory on the track first, I'll just play you parts. Okay. All right, So for our final tests, we're going to listen to both tracks from beginning to end. And you will be the judge if this post-production technique is going to work for you, not saying every time the saying it's there, if you need it. Here we go from the top. All right. Well, and in the blue corner, weighing in at negative 12.4 l UFS from negative 0 to decimal true peak. We've got our version. Let's check it out. Hello. Let's go. All right, I think you know who the winner is. Now look, I just want there to be an understanding that I was trying to be as sensitive and disciplined to the song and I was trying to serve the overall purpose, was still trying to have a bump in production. 6. Outro: I hope you found this extended training to be useful or wanted to thank you for the opportunity to be able to serve you in a way you're helping me fulfill a promise. Because when I first started about seven years ago now, I wish that I had this kind of training and this kind of exposure. But the truth is that it just wasn't available. And I really, really am glad that I'm helping you grow as a creative. So thank you again. I will catch you guys on the next one. Keep working on your craft and you will get better. 7. Using Swing (BEFORE and AFTER (Skillshare): What's up team? This is Eddie Grant. If you want your song to sound like this. But you're used to hearing it sound like this. I'm going to show you the power that you can acquire when utilizing swing you ready. Let's go. All right. So this is a document that a good friend, John landfills, is put together and basically did some research to back up what exactly happens when you apply swing. Now, depending on the context. And if you're utilizing an eighth note or a 16th note division, a couple of different things are gonna happen. So in the case of this eighth note pattern, he essentially started to apply swing inside of the piano roll inspector. We felt that every second fourth note started to deviate from the grid. So while everything else was quantized, those specific notes, the second, fourth started to move out of position, giving the drum part of very specific field. Now this doesn't have to just pertain to drums, but just for illustration purposes, this is how we are running it. Now if you tried to create a swing pattern utilizing the wrong time quantization value, and it's probably not going to work. In this test, you ran with the same structure except utilizing a 16th note pattern. And again, every second, fourth node started moving slowly but surely off to the right. And again, if you use the wrong quantisation level, then it's not going to work. All right, So with all that being said I have a track here and it's pretty straight on the grid plane, check it out. And while not necessarily a bad thing, I want to show you a way to make this way more interesting. So in order to get that done, we're going to bounce this to audio so it becomes one entire region. Alright, so let's throw this away here. And I'm gonna hit Command F token of flex time and we're going to enable flex. That then is going to analyze all of the various transients. In my performance. Of course, we have to choose the appropriate algorithm. Find that logic doesn't do the best job of choosing the algorithm for me. For drums, you're probably going to get the best performance from automatic slicing. So slicing mode or from rhythmic. So let's go with just straight up slicing. And from here, I want to start applying swing. So in order to do that, we first have to quantize this. So let me go ahead and set this to an eighth note, quantize. All right, turn on the metronome. You should be here. All right. Karen, eighth note quantize. I'm gonna go ahead and set this swing value to 60 with this sounds like. So now we're starting to get a little bit of group. Let me go to 65 and see what that sounds like. All right, so remember we started here, I'll disable flux. And now with the magic of swing, it's not that easy though, because we've changed the entire groove of the drums or at least the backbeat. And so everything else is not going to follow suit checkup, right? Sounds really scattered. So what are we to do? There's a couple of different ways to do it. I'm going to recommend the fastest. Go into quantize. And you want to create a groove template. Now I've already done that. You can see that in my menu. I have a drummer bouncing place. So I'm going to go ahead and apply this to every other region on my sessions. So this is a legato part. So there's no reason to apply it here because it's not going to swing anything. So we'll leave that as is. But as far as this percussion tough kid part, we're going to go into the quantization menu and apply this specific group or elicits into these in tandem. So that's hard, right? Without it, it just sounds sloppy. Check it out. Because they're not playing the same thing, they're not going in the same direction. So that sounds pretty cool. What about this 80's mirage tar? Listen to the way it sounds right now. All right, So this needs it as well. So let's go and create this groove tablet. Here we go. Okay, so this one needs a little bit of help. There's a value of 0. Me bring this up to 65, see what this sounds like. X r. So that's definitely now work in this ticket, a 60, little better or Buffett E5. This one shot is not necessarily going to be affected by swing. So I'm going to let this be neutral. Okay, so that's working for me. The last thing that I'm gonna do here is apply this to the African kit. So again, we're going to quantize, Let's see what this sounds like. Put it up just to make sure. All right. So without it sounds like this sounds okay, but it doesn't sound great and we're always going for greatness. All right, So let's check out where we started. And in order to expedite this sleep, bring this up here. All right, so this is where we started. All right, Now let's put some groove into it. Here we go. All right, insert fat baseline and you get This is Eddie gray signing off. Thank you so much for the support. I appreciate you guys so much means the world to me to be able to spend some time with you and take our game to the next level. We wouldn't share this information with anyone and everyone that will listen. Thank you so much for the opportunity. Let's go.