Vocal Mixing Masterclass: How To Mix Pop Vocals Like Bad Bunny | Kia Orion | Skillshare

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Vocal Mixing Masterclass: How To Mix Pop Vocals Like Bad Bunny

teacher avatar Kia Orion, Artist & Music Producer

Watch this class and thousands more

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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

8 Lessons (1h 18m)
    • 1. Course Intro

    • 2. Preparing Your Mix

    • 3. EQing the Vocals

    • 4. Compression (and why it matters)

    • 5. Balancing Dynamics

    • 6. Dynamics Continued

    • 7. EFX Processing (Verse)

    • 8. EFX Processing (Hook)

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About This Class

Ever wonder how artists make their music sound so good? It’s all in the mix.

Even when big musicians are touring on the road and recording in hotel rooms they sound incredible because their engineers are so good. 

I can’t promise that after this class you’ll sound like Drake. 

But I can teach you the basics so you’re one step closer to getting there.

With over 10 years of experience mixing, recording, and writing records I’ve put together my own system and this quick and dirty guide to mixing pop vocals. 

So, what’s next?

There are so many lessons I picked up over the years and through my time behind the scenes in the music industry that have helped me immensely and I’ll share them with you throughout these courses. 

One of the biggest gems I’ve learned is this: Do it yourself.

No one is going to care about your music as much as you do. If you have the DRIVE to succeed and the HUNGER to develop your craft you’ll be able to make it. This is the era of no gatekeepers. No excuses.

So what are you waiting for?

Mixing is a skill that is incredibly marketable and distinguishes between an amateur and a professional level sound. 

I’m not saying you’ll become a rockstar overnight. But with what I teach you in this course and the persistence to apply it you’ll be that much closer.


Who is this course for?

This class is designed for artists, producers, and engineers who are starting out and want to get professional sounding records from their bedroom.

As an artist one of the best skills I ever learned was how to mix. You have COMPLETE control over how your music sounds out and it’s an incredible service if you’re looking for a full-time or part-time hustle. 


By The End Of This Course

I want to be clear. This isn’t about shortcuts. This isn’t about secrets. This is about learning the fundamentals, applying them to your own work, and taking your career into your own hands.

These are tried and true methods I have learned through countless tutorials and recording sessions over the years that I wish someone had taught me at the beginning. 

I also want to make the statement that there is no right way or wrong way to this. This is simply my way. If you want to hone your sound take your future into your own hands and craft what sounds good to YOU.


What If I Only Have Stock Plug-ins?

if you don't have all the plug-ins i use in this video don't be discouraged! 

it's not about having fancy plug-ins, it's about knowing how to use the tools you already have.

everything i show you in this video can be achieved in your native DAW, i promise. 

but if you only have Stock plug-ins and want to learn those you can take my other courses here:

Mixing vocals in Logic Pro X


Mixing Vocals In Ableton Live With Only Stock Plug-ins


P.S. If you want learn how to easily make better vocal mixes you can download my free mixing cheat sheet from my website here. 

Meet Your Teacher

Teacher Profile Image

Kia Orion

Artist & Music Producer


Ay! I'm Kia. 

I'm an artist and educator who believes life wouldn't be the same without music.

Or tacos.

I realized that I was equally as passionate about teaching music as I was making it.

In 2016 I founded Beat School, an online platform and series of educational programs to help aspiring artists and producers learn how to make beats, accelerate their growth, and stay inspired. 

I'm originally from New York but these days you'll find me traveling around the world writing songs or playing beats on a rooftop somewhere.

I appreciate you stopping by, and if you'd like to get in touch you can DM me or shoot me an email at [email protected] 

Life is too short not to do what you lov... See full profile

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1. Course Intro: What is going on? It is your boy key, Orion, the main who is obsessed with making no music in teaching you how to make your own in this course, I'm going to teach you how to make tropical dance hall kinda rig it don't vocals. So this is a track that I made with a good friend. His name is Lucky Fox. I have all of his information and stuff linked up in the description below, but he's an incredible artist in a wanted to show you guys this track because normally in these kinda walk through videos, I mix my own vocals. And in this one I want to show you what it looks like if I'm mixing vocals from scratch. So it's a start to finish. No templates, anything like that. I've never makes his vocals before. This is the entire process from start to finish teaching how to EQ, to compress, teaching how to add effects as well. That being said, if this is one of your first time stumbling onto my courses on mixing vocals of a cheat sheet for you in the project description below. Go get that. It'll help you kind of navigate this world of it's new for you. But I also want to say this is kind of a beginner and intermediate mixing course. I'm going to be breaking down a lot of the different plug-ins I'm using choices I'm making, but not all of them. I do have like a full fledged mixing course that breaks down all of the decisions. And really what compression is, kind of all the nuts and bolts where this is, I'm simply diving into certain elements and I'll let you know why I'm making the decisions. But I'm not going to necessarily tell you all of the ideas that go into all of these plug-ins. So that being said, This is not Woodstock plugin since this is a real track that I will be releasing. This is with a bunch of different waves plugins, fab filter plugins, et cetera. But you can achieve all of this with stock plug-ins. Trust me. I say it time and time again. It's not about the tools that you have. It's about knowing how to use them. You could achieve everything you want. What's the stock plug-ins? I promise now that being said, I want to hear what you guys achieve with your site plugins. So please post a link to your SoundCloud in the projects part of this, the only request that I have if you take this course, if you use this information to please put it towards good use in, Send me in the projects posted down below, you guys have mixing, so a link to your SoundCloud, link to your Spotify or whatever, a screenshot of your project, if you prefer just to let me know, you're actually taking these in applying them. I hope you find this useful. This is a super fun track, the mix, and hope you learned a thing or two about tropical pop in and I get, don't check you in a minute. Check the project description below for all the links we talked about and appreciate you guys and see you on the inside piece. 2. Preparing Your Mix: Hey, went to, went to okay, so I'm super stoked. Do jump into this project with you. Finally show you what I've been talking about. And this is kinda how we're going to break it down. So I've got my verse going on over here in the green Kao Vox. And then I've got my Douglass here. And then my man IV or lucky FOX. I've got over here. So I've got this label it as his vocals. And obviously if you want to, I said this in an intro, but if you want any of this stuff, it'll be linked up in the project description down below too can listen to it. So unfortunately get a feature from him. And pretty much the way that we're rocking this is I kinda, I made the beat and then I did my vocals and a rough mix of mine and that center over to him. And he sent me back this reference track, which I have up down here. So if you're going to be mixing vocals for yourself, doesn't really matter. You don't really need a reference track, but a few things you're going to need before you get started in terms of a reference track that you will need is one that you're going to want to model your track after. So the one that I've chosen is I choose Drake all the time because I loved the way it has Engineer's mix. I love Drake controller because I feel like that's kind of a similar vibe to the track that we have. So let me stop talking. I'm going to play you pretty much my quick part of this track of what it sounds like unmixed and then what it sounds like mixed. So this is the first part of this track. This is without any of the effects or the mixes that I've done to it. These are the vocals with mixing. Another one. So you can tell, I've took out a ton of stuff, just cleared up the vocals. And you can see from my vocal chain here, there's a lot going on and so on. So I'm going to jump into you now. Pause. But I'm going to jump into now is the I'm going to mix his vocals from start to finish. And so pretty much I left the, he did this crazy feature for me, which I'm super blessed to have and it gets bonkers towards the end of it because he did his crazy chopping. Chaplin screwed to be. So we're gonna get to that. But to save a little bit of CPU, I'm going to turn off all the plugins for my vocals. And if you want these vocal chains, I'm hopefully going to have these finished for you by the time that this is done and you'll be able to download these vocal chains and the project description. So check that out. Hopefully have those ready to run for you, are ready to roll for you. So I'm going to turn off all these things and jump into his vocals. So this is kinda what it sounds like dry at first is after the hook for him. Another one. So as you can tell, his, the way that he sings, he already is in a higher register that I am. So it'll be a lot easier to clean these up in terms of the low-end because as you can probably feel that, but I'm also going to be mixing this to a two track because I assume a lot of you are going to be mixing 22 track. So you are, what you might see me doing over here is kind of adjusting this volume as I go because I want it to sound, I want my end product to sound like this, right? I'm trying to just nail everything there in terms of the whole the whole mix, the master and all of that. Also in terms of volume, I also mix with a limiter on just so that you so that you know, I'm actually the limit around because I know I'm going to be mastering it here in a little bit, so I just have that on as well, just as a heads up, if yours is, I feel like why is it mine is loud. Just throw a limit on your master. I'm going to talk about later when I talk about mastering, but just as a heads up. So let's jump into this pretty much. That is the phase where you want to, just to get things started. You want to make sure that all of your vocals are kind of ready to rock. They're labeled, he sent me these as stem, so I kinda chop these up, labeled them all here, and it's kinda got the project ready. That's going to be your first step to any of this is pick a reference track and get your project kind of cleaned up before actually jumping into it. So that's kinda the first step is just cleaned it up. And then we're actually going to talk about really clean up the vocal, but just clean up your project first and foremost and get a reference track that's step number one. 3. EQing the Vocals: All right. So when we're the first thing before you can get to any of the fun stuff when it comes to the vocals. It's about really cleaning the vocal up. So that's for me, that's going to be EQ. But what I do before I EQ is I also throw on a DSLR. And what I'm gonna do here is show you kind of my, I have it loaded up as a vocal chain. And so the way I'm going to mix his vocals and say that I mix my vocals is I'll add certain things to all of them. And then when it comes to certain effects, I'll kind of take those and you'll see what I'm talking about. Don't worry about all these different plugins. By the way, this is not a this is not a tutorial. I'm gonna be doing a sack plugins. I have those if you want them, how to how to mix all because of a stock plug-ins. This is one with actual plugins. Here's the thing though. If I'm using it doesn't mean that this is the, there's a 1000 ways to skin a cat in this game. So just get some invest in like the waves gold bundle that'll get you really far. Or in the T-Rex, wait until Black Friday or wait for a sale and get like some T-Rex plugins. I have their mom. It's like they're sweet five or whatever it is. I can't even remember what it is. It's the whatever it is, get some sound toys, That's great. Just get a bundle, spend like 200 bucks, get some bundle, they just get a bunch of stuff like compressors, EQs, just a, you don't need super-duper fancy stuff, just get a bundle so that you have some maybe outside your stock plug-ins. But again, it's not about the tool, it's about how you use it. These are just kinda my weapons, a choice that I've grown to love. And obviously I don't use all of them. And so when it comes to his vocals as well, the first thing that I, I start with is tuning. But he told me that he already tuned his vocals. So what I might do is I might even just tune them a little bit more. And let's see what the key is. See what the key that we're in is. Said B minor. B minor. So I'm My, we'll see, I might throw on maybe a little bit more tuning for him or not. He's a better singer than I am, so I probably won't need this, but mostly if we need to get into it. So the first thing I'm gonna do is it's important when you're mixing or vocals, at least again, this is my perspective. This isn't the only way to do it. You'll figure out your own style for me. I like to EQ them when they're not, when they're, when they're alone. I like to solo them any cue them without the beat playing it first, just because to me I find that is easier. I like to add compression affects all of these things when they are in the beat. Because then you actually have like, you have more of a perspective of kind of what, how it all works together. But when you're actually E queuing, It's like the one-piece to allocate, actually do solo. Because if you do all solo, then real key to mixing the key element is how it gels with the beat. It's not how good it sounds alone. So keep that in mind is it's really about how does this fit with the beat. So you're always going to be coming back to that. Okay, With that said, let's jump into these vocals. Nicu him. Another one, don't love me, spurs Thomas. Another one. See you soon. These actually didn't turn out too bad, like they they sound pretty good and that a lot of room noise. What I do notice is you can tell that S frequency just soft top. Another one, don't love me. Spurs Thomas. Another one done, Mamiya, see everything I'm saying. There you go. So I'm already taming those Ss just coming into off the rep. I'm just going to be payments and messes. This isn't, I'm going to be keep, I'm going to keep adding these DSRs as I go. Because as you, as you compress and EQ the vocals more certain things are going to jump out to you more. So I don't do all the heavy lifting off, just this one. It's just kinda what I start with. This is another one that I liked. This is something I stole from engineer I love, named volunteer Raul. You can check out his channel, helped me to vine. He has some amazing stuff on there. So it's like add maybe a little bit of analog saturation or see if we need it. Another one done, Mamiya spares Thomas. But if you read this right now it can get you can get pretty messy pretty quick. So I'm going to leave that off for now on his okay. So we've got another one. Don't love me or spurs Thomas. Thomas. Another one done. Mummy, see everything I'm missing. I, and now we're going to start dequeuing. So when it comes to EQs, there visually cues like this one, procure too, I love this one. And then there are these other ones that are more, that like mimic a channel strip. They don't have the visuals because I'm still I'm not like a super-duper expert engineer. I don't like to use the visual ones as much because I'm trying to train my ears right now just to be able to hear the frequencies and say, oh, I need to pull that off. And like the five K are the three K range. And to do that for me, I find it easier rather than watching them to actually do it in just trying to listen to it. Uh, so much of mixing comes down to time and just training your ear for what you want. And again, I'm still learning this is still all a work in progress, so just going out there. But anyways what I'm going do it this first EQ is this one I always use. My first EQ is ice roll-off, all the low end because there's probably not a whole lot going on below, maybe one, 100 to 150 depending on where you're at like that you actually need because this is EQs all about mixing is all about just dequeuing, like having things in the right place. And so I want all this low-end, this is space for like my kick drum. I ate a weight, my base part of the sample like that. Again, the reason why I love 40 and Drake stuff so much is because you can really hear his voice is separate from the beat. His voice comes through. So clearly control. I'm never on, always think I do. You'll say you want to write, is this right there? So that's the way that I like to mix, but you find what works for you and choose what type of mix you want. But that's kind of what I shoot for. So I'll say pretty much right one here, another one. Don't move me. As Thomas said. So right now this frequency I can hear it. It's kinda like boxy, like kinda low end going on another one. Don't Mamiya spurs tomos so you can kind of feel that go into another one done Mamiya, see everything I'm missing. I'm actually a Mamiya space time is to frame and I hear some stuff up here that I kinda want to tame as well. So we're going to jump into that with, like I said, these other EQs. Well, so just going to duplicate this one so that I have another one. All right, so we're gonna jump into this first EQ. And the way that I like to EQ is you'll have a lot of different channels strips. You could even do this in your visual cue as well. Pretty much I'm doing as I'm, I'm turning the queue. I'll she asha, that make more sense if I do it in here, I'm turning the queue. So let's add another knob here. This little notch that Q is pretty much how wide or thin the amount of the frequencies that you're boosting or subtracting. And then the gain is obviously how much or little you're going to boost it. And so when I'm, when I'm turning the cue, when you see me turning that in, in the kind of control knobs, this is all that it's doing is just kind of really narrowing in on a certain frequency, just for some visual, the visual element. All right, so in here, this is kind of built from low to high. It also has a compressor, but I turn the compressor off because I don't really want it right now. And so what I do is define these easier as I boost them all the way up because it'll make them really easier to hear. I'm not even sure if that was a proper sentence, but you know what I mean? So listen to this. Let's turn this off. Another one, DM me, spose Thomasson. Same thing, I'm missing. Another one. I'm scanning for what are called resonant frequencies. They're just kinda was like frequencies just kinda ring and just cause problems. And the best way for me to find them as you turn your cue really narrow. And then you scan through the frequencies with the volume turned all the way up. And you'll see that's what you're going to see me be doing now. Another one. So undertake it. I'm just going to I cut hard on the low. When I cut a hard, I take out a bunch of low end of the vocal because I can beef that up later. But if this has got to like Martinus are like boxy frequencies in there, I'm just going to try to take them up from the rep. Another one, don't move. Not that crazy is Thomas. But another one dm. And again, I'm not going do all the heavy lifting on just this one now, but I'll probably kinda maybe 56 another one. Dum. Mm me, especially as Thomas, watch ears. Here we go again, we're gonna scan for some frequencies. Another one don't Mamiya spurs tomos. Another one don't let me see everything. A mistake if you like. Just kinda is ringing. That was just kinda like there's just a ringing there. Another one DM me as far as Thomas. Another one, don't Mamiya see everything that I'm missing. And another one and umami, a space time is 2. There's certainly some harsh high-end. So we're going to find me a Spanish tomos. Another wanted me to see everything I'm missing. Another one and a Mamiya space time is to open this queue up a little bit because there's a lot going on here in this kinda of 22.6 to three k range. That's where you can often find a lot of problems, don't mm me as well as that S another one. Don't Mamiya spread as you can tell, there's going to need to do a little something to that. So this is simply, this is just a low cut. Again, exactly what you saw me doing. This one. Loca up to maybe a 100 cut. I probably don't like about this too much. I normally don't. Maybe like a barely that's negligible. Just like you could pretend I didn't do that. So we're going to move on to the next one. But the first thing we're gonna do is bring in another ds or seafood contain one of those S's first. This is a pretty simple. The Esser from, I loved this pro ds from FAB filter. But again, I'm trying to just train my ears on this one. I'm trying to figure it out more. This is a simple waves, the S or they have a bunch of yeses. Again, it doesn't really matter too much which ones you use. Another one, don't Mamiya squares Thomas. Another one done mummy, see everything themselves. So this, um, Taemin, where those, if you listen again, another one DM me as well as Thomas. And if you hear those Ss kinda biting, you really listen for it. That's going to be in like you're kinda three k range we are talking about another one, don't Mamiya squares Thomas. Just kinda just evens it out a little bit. Just, that's all you really need is you just want those to become three because later, once you want to, you want to clean this up as much as you can now because later once you start boosting and everything, it can get out of control really fast. And so again, you want to, you want to clean up first before you add effects and stuff. So we're going to just keep dequeuing another one. Don't mom expose Thomasson, another one done Mamiya, see everything I'm missing. Another one done Mamiya space Thomas to fair. Now I'm dumb mommy up cannot madam. Another one gum Mamiya squares Thomas. And I want a Mamiya, same thing. I'm missing. Another one done, mommy us grass time is to fair. Another one done, mommy, you a Can-Am it? Um, and again, same thing, probably going to look in that kinda three k range five carried another one. Don't move me especially as tomos. Another one don't Mamiya see everything right in there. Me a space time is to another one DM me, you can't match. Another one DM me as fast. Thomas Cole says, sorry to sound good. Now we're going to start compressing all of us. So we took out a bunch of stuff with that EQ. And now in DSRs are, are, that's adding a little bit compression your vocal. But at first, right now we're going to keep dequeuing as we go, but just kinda get a base of EQ and we're going to start dequeuing and then probably come back to me some EQ later. So that's kinda the beginning EQ cleanup phase. 4. Compression (and why it matters): All right, moving right along, we're going to jump into a little bit of compression on this. So this is where now if we listen to the vocals in terms of the beat, with the beat, It's not bad in terms of volume. And with the compressor, you don't want to get all your volume out of the compressor, but you can't get a little bit of volume out of it. So it's like oftentimes you'll want a volume match with your compressors. But I do like to get a little bit of volume out of this first one, so let's try it out. This is a, I'm going to reset it. Load. Start me up. Full reset. Okay. This is, this is there a couple of different compressors I like you can use whichever ones work for you. I don't always use this one because it makes the vocals really bright, I find, but again, when it comes to compression, I don't use all. I'm trying to get all my compression out of just one compressor, right? So I have a couple over here as well. So you'll see that This is the CLA 76. This is again, this is a waves one as blue and black. He also has this like analog sound if you want to turn that off. Normally, if you think of like attack and these volume knobs are very strange. So I just want you to know that these are almost like reversed. So pretty much because this is my first compressor. I don't want to do a whole lot of heavy lifting. I just wanted to catch the peaks, pretty much bring things in a little bit. And so there are, there are a few different plugins that I do that I use for this. So the first one is, again, it's a wave's plugin. And it's called, it's called waves vocal writer. You've got to be careful with this because it can get, so if you've listened to it just with this, oops, times 2. So this might be a little bit advanced for you all. So I'm going to just actually save this for a little bit later down the road. And let's talk about just this compression first. I do like that. It kinda, kinda like just helps you even out your vocals a little bit. But, um, I want to really teach you the ideas about compression. So pretty much what compression does as you think about like a tube of toothpaste, it pretty much your compressor just brings your highs lower and your lower was higher. Hopefully that's not confusing. You're pretty much as tooth. You're making your vocals, I think toothpaste, but she's put too much compression. You can kind of lose the, in this, the vocal writer, sometimes you can lose the performance, the dynamics. And that's why I want to show you how to do it with just regular compression first. And we can maybe add a little bit of this at the end just to kinda help smooth things out a little bit if you want it. The ratio. Listen, I'm not going to dive into all these crazy elements right now. I've got other tutorials I'm mixing on that, but 20 is like super compressed. All this super compressed is like 50 to one. We're going to stick with a simple four because right now we're just catching the peaks with this bad boy. So attack, return it to one, release, returning it to seven. This means the attack is super fast. It's not, it's, it's really picking up those transients. And then it's also releasing super-fast as well. It's not holding on to them. So if you watch over here when I start playing this, you'll see what I mean. I mentioned the output down a little bit, just that we don't hurt our ears. And then enter an input up so that I start, I'm probably gonna be knocking or negative seven, negative five without it. If we go. So obviously That's others, a lot of volume. So now what we're going to volume match a little bit. Volume matching is pretty much, you're going to want it to be the same as we often think compressors make things sound better because it makes them louder. Oftentimes, if you're not careful. So I'm just gonna try to match the volumes here. And then maybe I'll get a little bit of volume out of it later. But right now, we're just going to a, B and back and forth, get the same volume out of the compressor. Um, that sounds pretty good to me. Again, we're just catching, we're just catching the peaks. The next one that I'm going to do is what I call the Renaissance. Are Vox again, this is another waves compressor. Obviously I'm a bit of a waves fanboys. The gate. Don't worry about this too much right now. I'm maybe going explain that to you right now because it's not really super important. The two important things, the nice part about this renaissance boxes, it's easiest just to one compression knob when gain reduction knob. So like we just did on the CLA 76, we caught the peaks. This one we're going to bring, this is going to bring it, just bringing the vocal kind of up front a little bit more. I really liked this compressor for vocals. Sometimes I'll just skip the 76 and just jump to this one because it's super easy. And I just, I just think like the way it sounds. So it's meant for vocals. Tough times to Ghana man, I'm just again, just vocal matching again, unknown. Let's bring back these other vocals, how it goes through a mask. Because they're just so cool. So we don't have a ton of wheat. Obviously, we want the focus to be ladder, which we'll get to. But in terms of compression. But I might do after these two is maybe have one more. I might come in and DS a little bit. But because I know you just you can find out here already. Did an ABA need you to keep me company because I just want my pay me back or need you to keep me company because I just want my Amy Burke or fevers development. So you have to in my kind of vocal presets are two other compressors here lined up that I might use them I noticed is our compressor and another wave plugin. And this is, I just loved this one. This one's called LA, LA 2-way, I think is the name of this compressor I should note, is that white to a again to the T-Rex joint. And so I'm probably gonna do use this final compressor just to kind of glue it to the beat a little bit. And just, uh, it's like maybe one or two negative dBs or reduction. Not a ton in terms of our boxes, you can tell we got I like to go past negative six on this one, at least if there's my second one. As a quiet as a sound so loud it's because I had this other compressor on. Okay, so this has two features, a limit and compress. This is just another type of compressor. This is again your gain reduction knob. And this is pretty much, this is just again, kinda catching those peaks. That's like the way this makes vocal sounds. So I'd like to play, like to apply just a little bit of a, just to get a little bit of character out of the vocals. But again, volume matches, so you aren't, you are deceived that you think it's better because it's ladder. You just squares term me, see everything is in non-dominant terms to fail. And they'll come down, see if I can make a comment. Because I just said, which is you. Just Cool. All right, so that's going to be compression, at least the start of the compression that I'll do with these vocals. We're about to get to the fun stuff, I promise. I'm just going to do maybe a little bit more cleaning up to it. And then we're going to, I'm going to show you how to do a multiband compressor, which sounds slightly confusing. I swear it's not. And then we'll jump into the fun stuff. So onto the next one. 5. Balancing Dynamics: Okay, jumping back into these vocals. So I'm going to just throw on another ds or I want to try to attain those little bit. And again, this is also where you could start to EQ again if you want to, if you want to get all fancy. So here's what we're gonna do. I'm gonna ds little bit. Because I actually want these vocals a little bit louder too. I'm going to get a little bit of gain out of this compressor, the CLA 76. Again, we're going to come back to our Drake track where we want to be at the end. They just want to take because it is just to show this to you. As Thomas. And we see within another loan can make up a story. So this is where, this is where I'd probably add a little bit of multi-brand compression and analog saturations. This is analog saturation is a fun, fun little thing you can add, which I really like the FAB filter sat in for this. Because you can get, you can like add only to certain bands that you want to increase. And so I might add a little bit to his high end here. So I might, I might add this, I've to kinda options. I'm thinking I've also want to add some multi-band compression to it. So we might use this, you might not, we might use this who might not ask, I like to experiment with them so you can get out of a multi-band compression. I'm going to cover this again. I've covered this in a different tutorial, so I'm going to jump into a ton. Pretty much. It adds compression at different parts of the frequency band. So I don't mess with this at time because it can totally make your vocals stand out like crazy and it can get, it can get out of control really fast. So I actually use a preset and then mess with it. Yes, this one. So I like this one. A student can made carpet because it says you can tell these are the kinda different frequency ranges. This is the super high, kinda high, mid, mid, low, mid, just kinda low that we have cut out totally. So I just kind of because it is a preset ice kinda like two real these in a little bit. So I don't want to be quite so crazy, but I do really like this thing. A lot of it was just too. You have completed squares Thomas, the intellect saturation and objects being it's going to be too much. Kim made carpet. Because I just brought up a good story. Which has to do is to use first term and add another ds are here. I'm still, it's still getting a little. Every time you go compression, you can either EQ or added ESR. It's up to you. I mean, I've seen don't do the same things but just, you got to it. This is the hard part about mixing is it's not a rocket science. You kinda have to figure it out for you. It just feels right. And so that's my advice, is you can make carbon because it has a body was just the you couldn't reuse. Also. Do you hear that? Another one. Suppose Thomas. So another thing that in that cleanup phase, which I didn't do on this one because I just wanted to jump into showing you mixing is. And then I'll, I'll do before I end up finishing this track is you can do this a couple of different ways. If you remember before, actually before I jump into that, let me let me finish this section just as it is and I'll I'll touch about the clean up right now. 6. Dynamics Continued: So when you think about mixing, it's less of a linear process. And this is the best thing to change my mind about it is it's less of like you start here and then you just do this process. And it's more of like a cyclical process where it's kind of like concentric circles that end up kind of like kind of coming in together. You kind of are constantly circling, coming back to stuff, tweaking it as you go because the mix, It's a dynamic living breathing thing that you kinda want to. You keep coming back and making changes to things as you go because certain things will pop out or you want to bring certain things out here in there. So in this regard, what I heard was, if you listen to this, there there wasn't a problem with it. Is you to compensate that. What I'm listening for is that like high-end kind of static sound? I need you to commit company because I just swapped them up, pay me back or lump-sum, which is not too bad now. And but if you listen to this one and another one, is Thomas. Like there's a lot almost that like analog sound and that one. So what, what I end up doing with my vocals is they'll end up looking like this. Every single verse will be chopped and have a little fades to it. So that's what I'm gonna do here, is again, cyclical as I'm going, those just jumped out to me. I just want to clean this vocal hook up right now. So we're going to come in here and we're going to just chop out these spaces. Another one is Thomas. Another one don't see everything I'm saying. And another one, the Mamiya spends time in missing. Another one. Osteopenia. If you want to keep your breaths in or not, it can be almost a creative choice depending on what you want. This is something we're going to be doing, spending a ton of dominant and just kind of getting it generally done cleaned up. Because once we add effects and stuff, we might come back and do that a little bit more to it. So it's kinda get in, just wanted to walk you through that. If that's, if you have a lot of high-end stuff taking out or that static analog taking out these little bits and pieces can be really helpful. So moving along, we've kinda got that rockin. And what I wanna do is this is a really cool plug-in. There are a bunch of them. This is called a man. It's a it's a I can't remember the name off the top, but it's like a starts with a P, can't remember it, but it's, there's a bunch of different versions of it because right now it feels that vocal feels a little thin. I want actually I'm going to boost this one, Holman a boost a little bit in the 100 hertz range. So if it's a super exaggerated, this is what it sounds like. Another one. Another one is again, it was brains out cut that boxing this again. But what this can do is kind of since the vocals feel a little bit thin right now, I wanted to beef up a little bit. So what I'll do is actually boost. This is almost kind of feels. I'm using this right now. It doesn't need to go do the same with an EQ almost as like a mid-range EQ. I'm just kinda boosting a little bit of mid-range. So sewn onto my hand. And those Ss and everything that sound a little bit on the sound, that kind of messes with your ears. Once we start to add some effects and stuff, you'll see how it kind of evens out a little bit. But right now, that's what this compressor is. Cool when I'll walk you through it just in case you wanted to do something with it. This is an interesting one where you can kind of tell it how much you want it to bring up. If you have like a low, somebody who's seeing really low, you can kind of bring up this bottom part and bring down the top part. But the scary part is there's this thing called I think it's like floor, floor. The noise floor. Floor or noise or North I came here but it's one of the do pretty much all of those low rumbles, your refrigerator, the chords, the cables that are in your room like all those just like weird things that like their electricity kinda makes a sound. And so the noise floor, if you bring it up, it can start to sound really bad. But if you have somebody who like whispers in NYC isn't talking a lot, you kinda want to bring up that bottom in. So you can kind of bring up the bottom part of this and kind of brain on the top part of the bit, which is kinda cool. Another time is to not crazy. Again, subtle, subtle shifts. The more at the beginning as you're with EQ and like take on, like slash and things taken out a bunch of things here and there. By the end, it's just a bunch of kinda small subtle things. So again, I boosted and I boosted here. And so I'm going to again come in and maybe ds and frequencies again. Squares. And we see another one. Another one meal can just become another, another, another one meal can mirror. So that for now is a pretty general again, concentric circles will come back probably, maybe some EQ and stuff as we go. And you'd be like, Wow kits, so many plugins, but if you look at them, it's almost all just compression EQ. No, it's all just compression EQ that's like that, which don't take a ton of your CPU. They do some, obviously i'm, I'm about 60 right now, but this is also the same project that has the beat in it. So it has all the beat and the effects that the beat and stuff like that. So keep that in mind as you go being aware of CPU, but nothing too crazy right now we just cleaned it up. And this is kind of a rough clean up, because when it comes to mixing vocals, the key again is getting the volume right with the beat. And so as we, as we add effects and more compression and reverb and delay and really have fun with the spice of it. We're going to keep coming back to dilate in, kept, keep coming back to that Drake track because you don't want to lose track your reference. So that is kind of the beginning of this tutorial. In the next part is actually going to be fun part. So I'll see you there. 7. EFX Processing (Verse): Okay, now we're getting into the fun part. And as you can tell, it took a little bit of a break. So it's night time now. So I gotta be about a seesaw. Got my glasses on. Don't judge me. Okay. You know, you can't be a SoundCloud rapper if you don't wear glasses, you know what I mean? And it cooled unique eye glasses. So now we're getting into the fun part which I'm excited about. So what I have is a reference track which LeMay and sent me which is cool. So this back and kind of tell the vibe that he was going for with his effects. And so I'm going to try to match these relatively kind of same, some of the same effects that he sent me. So this is the part of the track where I'm I'm using this as kind of a guide for what I want to, what kind of a directional line to take this. So if you listen closely here a little bit, maybe a little bit of slap delay, maybe a little bit of reverb. So here's how we're going to get down. So we're going to do it. I'm going to bring all these in first, keep things organized. Boom, boom. Lots of effects, lots of cues. Get that out of there. That's seafloor out of there. And cool. So yeah, I'm going to teach his vocal writer in this course. Sometimes I do, sometimes I don't. So nothing that I use is I have an effects chain. So the way that this works is it's pretty much loads up all of my favorite effects that then I can kind of tweak. And this is again, I'll have a tutorial on how to make something like this. So that way you don't have to worry. So you can create one of your own, but pretty much it's, it's all the same effects that I like to use a lot. And you'll see I've probably load this up multiple times throughout this tutorial, but there are different types of reverbs. So this first one that I want to walk you through is called a plate verb. And this is, I'm going to show you this again, a lot of these effects now when we jump into these are mixing, it's a lot, a ton of small subtle changes, but with the plate Reverb. Again, any retrievable do I use this one called Valhalla vintage verb, which has a plate reverb setting vocal plate, you can pause it, copy these effects. And the way that this affects chain works is if you were to apply this reverb directly to the track, it would, you wouldn't want the mix to be at a 100. But I use this almost like a bus, meaning it's part of this vocal chain here. So what I do is a lot of my effects, of the effects set to like 100 here, but then I'll dial them in. It. This is almost, you can think of this almost like this is the my dry white knob here. So the effect offset all the way. And then this is Raul dial and the actual amount of the effect that I want. I'll show you what I mean in a second. So as a plate reverb, just because I'm going to, I want to show you what this is, kinda what it does. I'm going to play it with you. So for me this is pretty much at full effect. This is what the plate reverb is. Just what it sounds like you to complete. So as you can tell this suit delay, who you are, it's like a really, really short reverb. That's also, it makes it feel like it's in some sort of a space. And this is honestly if you listen to Drake's vocals, source control, that control. If you listened to a Drake. So of course he has this on there. It's very subtle, but it's there. And a little bit of control. So that's always what I use, my North Star. And obviously in this one, my boy, use it here too. You can tell. It just felt it just places the vocals in a space which I think is really dope. So I printed the way that I like to do this with my vocals is I will, I'll go pretty full-fledged on them and then I'll just dial them back until it's kinda where I want it to be. So let's do it. It's almost just like widens it a little bit subtle. Again, subtle, but definitely, definitely. All these small changes end up adding up to a lot. And then this flanger, flanger, it's just a metaphor Andrea, from waves. You could use this though just as much easy, just as easy in your stock plug-ins. But again, it's a flanger. And these are the settings for it. If you want a copy these and this is kinda what it sounds like, full-fledged if it's on IDO suit dearly, who you have complete. I love letters. That's sitted. There's such a difference with subtle, but it just places it in a space into it. I slap delay. This is, this is a really short delay. They just kind of I think this is kind of what's going on in here. But I don't love Slack glycine, don't use it a ton. So I do like a little bit of eight and a little bit of fourth delay. This is again, this is an HLA waves delay, simple delay. Have it the 1 eighth obviously said it to my ping pong, which made it bounces left ear, right ear. Talked about this in other tutorials which I'll dive into more. So I'm not going to have intermediate time. And then I just have a little bit of little key is gems for you is to affect your effects. So pretty much you have in effect, this is a gag line where I came from or what exactly this. Is this a flanger to it's not a flanger. It's maybe a phasor. It's like some sort of gag Golan. It's an OH, it's a chorusing effect. So pretty much what this does is it makes your delays just like a little bit wider. Not a ton again, super subtle, but affecting our Effects is the move. I do it a lot and you'll kind of see these in here. So check this out. This is the eighth delay full on. Too much. Also this, this means that it's on or off, which is so that means that slap delay skipped. And we see again we're using his reference track that he sent me and then I'm also using Jersey because as New Jersey control, he has left here the delay, right? That's right. He's got that fourth delay in a little bit of a delay. Drake use a lot of plate reverb and a lot of that kind of fourth eighth delay, sadly, but it's definitely there. And save it then. At very similar effects here with this forth four plates, HLA again, but it's afford this time. And this one looks like I'm not paying point. But I make some like an epic poem effect. We see another unknown can't measure. So if you, if you play, like if you're playing these back here, these can start to get a little bit too busy. So again, settle with the delays in nature because I just DO. So here's what I'm actually going to do. Because he has the chapter and screwed part of this song, which I really love, which comes up and later on down here, if we listen to this, what I'm gonna do is I'm going to actually have two of these kind of effects racks. So I'm going to take this off of the final, excuse me, I'm going to cut that out of. So I have this group which is all of his vocals. And then I have these kind of two separate parts and the B becomes trapped and screwed. And then also this first part of his verse right here. So I'm actually just going to add these effects to this first part of his verse, meaning it's affecting only these two parts right here because I want to do something. You kid, you could automate these effects. We'll talk about automation a little later on, but I'm just going to save time and do it like this. To do is to choose. And we see another one could be unknown to me, like Can-Am is 2. There's still almost too much there for me. And another one. And there it is. That's almost I'm going to just make it a little bit just to fill up some empty space brighter. This is one knob. Again, this is a wave's plugin. This is just, again, I've got this cranked all the way up just to bring it a little bit of maybe some of the high-end out. And we see another unknown to me. And we see another meal and Can-Am subtle changes there. All right, so this is, as you can tell, a bunch of different effects going on here. But the main one is this ball holla, Vintage reverb. This is going to be any type of reverb, but this is going to be your larger hall reverb. I'll have a tutorial on how to set this decay and that kind of. And I have other tutorials on that. So I'm not going to waste too much time there. But the way this is a mathematical equation that you can figure out for me, I don't think about it too much. I just kinda just a lot of it the way I make music is more by field and kinda just like what the numbers are supposed to be. But anyways actually have this cranked all the way here. Decay is how long it takes for it to fade away. And the pre-delay is how long it takes before the effector reaches the vocals. So I like to have a little bit of pre-delay on here. Decay somewhere. Well, we'll dial in and what kind of see. But again, what we're shooting for is this kind of a sound. So as trafficking and nail that. So this, the reason that this vault, so I'm affecting this a ton, I'm guessing this reverb. I'm also adding some Overdrive which is distortion of also eat queuing it. Um, also have EQ did again here. And if I believe I've added some high-end and I've cut out a lot of the low end. So this is just in the reverb effect. So if you listen to this. I've also, I'm making it brighter, so I'm trying to make this like a bright. I'm trying to make this reverb really bright and cut out the low-end obvious. I've done that a few times here. But with this distortion interests add some cool character to it in. But this distortion, you can get carried away. It can just get to be too much, too quick. So I'm going to keep this drive to saving them and bring them My Drive wet down on this distortion a lot. Another word for the unknown, the meal. And we see another one and another one, the male and another one. So let's write it here is my code up, but there's also a little click there we will fix a little bit later on. But just assume you contemplate the mean. And the median. In another learned. It was like a trail in there that I don't love trying to figure out what that is is to complete. And then another one and another one. Spheres time is different. As we just assume. You convey emotions, become the amendment. And we see another word, another one. Meal can't just assume you. I chose another and another and another one. The meal. Right? So that works for now. We're going to now add those same kind of effects. We're going to comply this via I wanted she does tutorial. I think it'll be fine. Completely differently to this second part of the verse which we're going to jump into now. 8. EFX Processing (Hook): I, so this is when we get to have fun. So this is going to be interesting because this is a style that I don't normally mix or make which I'm excited to experiment with you guys and kind of show you how we try to achieve this. So this is the, this is the vibe that we're going for right here. You know how dopa is that? Um, tell me Mommy. Mommy is, is Tao. So let's see if we can figure out how to do that. So let's see how we achieve that sound as if you can do something similar. So I'm gonna do another thing here to remember how we are talking about gate before, I mean a teacher, but that is real quick. See if that has a CPU can do something with that. So gate, excuse me, pretty much is when there's nothing when there's nothing playing above a certain threshold, it'll drop the audio out. So see what I'm saying. So pretty much if you, so if you see that, so now it's gonna kinda take out some of that empty space if we need to just a little bit. And then I can also come in and maybe do some more surgical stuff with it. But I'm just going to add some plate we've reversed, but we're going to go crazy with. It also sounds like it's a little bit quieter. Certain maybe you want to bring the level down all of it so that sounds kind of cool. It thought about a flatter. And I'm done. To be honest. And I really wanted to be like washed out, like listen to how much we've Arizona. It also sounds like his delay is has it felt around it. So that's what we're gonna, we're gonna try maybe get that go into. So we will talk about filtering your effects. So let's do this. And again, these take my own advice. I want to hear that you don't want to make these effects in a vacuum because you won't be able to hear what's actually going on when you bring the feet back. I'm going to bring a dabbler on here just to the Deller again, just kinda widens these vocals, makes it just, I just like effects that kinda make it little bit different. That's what the W sounds like. Full pen of some flames reaction. And this is parallel compression. This is another CLA 76, but the L1 limiter, any queue with a little bit of some high-end rolled off because I have the CLA 76 pushing hard. So again, this can you kinda SE, especially with this limiter on here too. So again, just affecting these effects, really just having some sort of parallel compression, having central to compressor on these vocals. Where do you some justice? But again, I don't have the super delta and this is like barely affecting it, but just brings it just a little bit of power to it. This is cool. I feel like it's almost like you're drowning in the vocals, which is kinda cool at this point. So these background vocals, I dig a lot. And so I want these to be, actually want this to feel like more of like an, an ambience than super clear, crystal clear vocals. So here's here that'll pop in there. So I'm going to take that out. He's like a little click in there too. Please. Be a definitely are. So we're going to step up this delay game, see a lot more delays going on. The first correct as we were about. Now. Please see, I might even add a half-note delay, just a budget assassin, he's got a budget of ladies. The next section. That sounds strange. I really want that decay like crazy. Like that. I guess wanted to linger and I'm trying to drown. Okay. And where to put this up in here? It doesn't need all those crazy effects. Let's see how he does it. All right, so this is going to be another part that I jump into at some effects in as well. But that kinda wraps up the effects part. And now we're going to maybe jump into kind of getting the whole track to feel cohesive, mastering it. So it feels kinda like a final project. And I'll go in and make kinda like some small subtle things, cutout, couple surgical things, but don't want to spend the time doing that with you right now. So that's kind of how you get these vocals, the effects, again, you clean them up, get the effects, cleaning up, get the dynamics and then affect them, and then come back and kind of iterate as needed. So let's jump into the last part of this. Whoops, not that.