Advanced Mixing Techniques in FL Studio

1. Welcome: Welcome to the advanced mixing course in FL Studio. My name is Lucy job beats September and a music producer, mixing engineer based in Cape Town, South Africa. In this course, I want to help you take your mixes from base to Pro advanced level. And if you bring you to mixing, all, advise you to pause this tutorial and go to my first mixing introduction course, which is titled mixing and mastering introduction in FL Studio. And that's where you're going to learn about your EQs. You're compressing. When you're done with that, you can come back to this one. So in this course we will be applying mostly creative effects and a bit of variation to some techniques you might already know if you've been mixing for a while and always practice what you learn, watch the content over and over again until it makes sense, but don't be too rigid man, mixing is also a creative fibrosis. Let's go ahead and prepare an organizer project for your smooth mixing process. See you in the first lecture. 2. Importing & Organizing Files: Welcome to the first lecture. In this one, we're going to focus on importing an, organizing the project for a smooth mixing process. Let's get to it. Looking at our stem folder, we have instrumental separate, vocal separate. Let's import a separate studying with the instrumental steps. Drag, drop. Select audio clips. Go to the vocal separate. Drag and drop audio clips. Great. The next thing we're going to do, I'm going to check the tempo. One, 33 beats per minute. We're going to sit the project to 133 beats per minute. This is to make sure that time delays and reverbs our own time. So the next thing we're going to do, open the step sequencer. Right-click, Shrek, select ever, then open the mixer Trek channel routing. It. We're going to route each thread to its individual mixer trick. We're going to select the second option, roots selected channels starting from these trek. All right, great, Let's Play and here what are we going to be working with? So what I'm going to do, I'm going to mess around with the levels so that it's easier to listen to it. Okay, let's just play it without applying any fixed City. I got to do what I do from a day once. I am a star belong and Myspace now. Nice now. Yeah. I said mysterious. Do me a favor. Yeah. Yeah. Yeah. We aren't Elaine steal from races? Well, yeah. Yeah. Yeah. The whole game. Yeah. Yeah. Yeah. Yeah. Every day, no. Well, every day I'm no. Well, yeah. Everything nice. Yeah. Everything to press. Anything goes well. Yeah. Female is still everything said. Everything true, fit. Everything will represent like me. I'm such a new trailing behind me. Oh, yeah. Make no excuses, but tried to mess with the process. Straight-up prejudice, activities and a blue everyday? No. Gotten a whole game? Yeah. Yeah. Everything cool. Yeah. No. We didn't know. Yeah. Yeah. I gotta do what I do from day one. Yeah, I am a star because longer must waste. Now. Mysterious at Nemea. We own Elaine, state-run a racist, communicate the KDC awake and bake the bread a break and they the same The real the fill and never faked whom you did nearly a chemical break the rear, brakes, the chairs that works the best, greens and band nice. And get it the way the boom of the secular aid. Would you say, I needed to jump on the broom or growth? So my homies a safe, I know the city believe in Google, try and destroy every day, you know, kinda whole game? Yeah. Yeah. Everything cool. Yeah. Yeah. Every day. No. We didn't know. Yeah. Yeah. Yeah. Mitch goes bloody know necessarily rarely. The game is dirty. Urge enough. Invisible, game ready? Slag. Was the banks, banks. The banks. And we didn't know the whole game. Everything cool. I didn't know. Yeah, we didn't know. We didn't grow. I got to do what I do for my day was I am a star belong and Myspace now added MRR is a deme a favor. Yeah. We own Elaine's filtering of races every day. Yeah. Yeah. Well, that's the song gear. So what we're going to do now is just to organize the mixture, color-code, everything. So it's easier to know where to find things. I'm going to move the drum sounds to the left, instruments, synthesisers, pianos to the center, and the vocals to the right. So from here you can see that we have to treat these. Melodies over here. What I'm going to do to select Control, left-click hold, just drag, select everything. What I'm going to do next, I'm going to hit Alt, hold, hit arrow to the right or to the left. This case to the right. Until we have all the drums to the left side. All right, great. So again, Control, select everything. Hit Shift, right-click, change color. Silica. Doug Carla for the drums. For the instruments, synthesisers, pianos. Change color. Pink for the vocals. Now, make the instruments for a screen. Vocals control. Control, left-click, hold, drag, shift, hold, change color. Let's make the vocals pink. Alright, what I'm going to do, chicken empty truck, hold Alt arrow to the left. I'm going to use the empty tricks to separate the instrument groups. Another empty truck. Great. I went to highlight the separation, so I'm going to right-click the empty track. Click separator. Highlight the truck after the empty drug separator. Do the same thing. Separate. Sorry, separator against separator. Now it's easier for your eyes. Do the same thing with the next empty track of the vocals. Click separator, heat, surplus, her rater. Now we can see these are the drums. These are the melodies, synthesisers, pianos, fluids, pads, base. And these are the focus. What I'm going to do now I'm just going to kill everything. Drums straight to 0, straight to 0. Focus. Straight to 0. Now the project is organized. Great. I'm going to save the progress. Let's do this. Save the progress. That's it for this lecture. See you in the next one. 3. Levels, Panning, Routing & Creating Busses: Welcome back. In this lecture we're going to focus on leveling, panning and rotating. The first thing I'm going to do now is to create buses for the drums, for the instruments, for the vocals. Okay, remember we created empty tracks and we use them as separators. So we're going to use the same empty tricks as our buses. Okay? This will be the drum drum Bush. Make the buses yellow, yellow bus. All right, cool. Tramp or leave as yellow in mice. Perfect. That's the drum bus to go into. Do it. Remember control, hold, select all the drums. Focus. Go to the empty trick arrow. Right-click. Route to this Shrek. Only. We don't want to select route to this trek because it's just gonna send it duplicate signal to this drum bus at the very same time, send the same signal to the master. No, we want the master to receive the drum sounds from the sparse. So we're going to say route to this track. Only. All my drums would be playing. This gives us control. Let's say we love how the drums sound, but which wanted to turn it down or compress all the drums be using one trick. This is the trick that drum bus, okay, So check this out. Bus checks gives us control. If you happier with the drum penny in the levers and everything, and you feel like you want to ten down just two dBs, one TB, three dB, whatever on the drums volume, you just go straight to your drum bus, turned the volume down. For example, let's say I want to add a filter. Just to spice up the arrangement. Want to add a filter? No, please. Too much drams. Check this out. I just go to the drum bus, add the filter. I don't have to go to the key to the same thing, go to the snare, to the same thing. Let's kill everything again. Let's go to the instruments control select every day. Let go of the control button. Let's go to the arrow. And a route to this trip only. What does this instrument? Bus? Yellow trip olive, that's yellow mice. Let's play the vocals. Sorry, let's play the instruments. Great. Now we have the drum bus with the instrument was, the next day is creating a vocal bus. We're going to say books, bus, trip, boom, boom. And to control, select all the vocals. Right-click. Remember let go of everything, control wherever you are holding. And right-click over root. Two this trick, only, select route to this trek, route to this track only. Boom. All right. Heavy didn't know? Yeah. Yeah. Yeah. Yeah. Everything crew. I got to do what to do from a day once. Yeah. Yeah. I am a star belonging Myspace now. Yeah. I took me serosa do me a favor. Yeah. Yeah. We aren't aligned steel twin of races. Well, yeah. Yeah. Yeah. Yeah. Yeah. Everything you know. And that is how you route your drums, melodies, and vocal threats to your boss tricks. Basically, that's how you create bus checks in FL Studio. Just take an empty track and turn it to something else, which is the bus wreck in this case. What I'm going to do, I'm going to cure everything. Okay, great. Then I'm going to start introducing instrument. By instrument. She's trying to mix with the levels and painting only before adding. If it's good. Let's go. I'm going to start with my kick. Let's look for BZ part in this song. I think it's this one. I think it's a bad one. Around 15 dB. That thing That sounds good. Four, Good. Remember this is a hip-hop trek. Always leads, including the snare. Around 30 dB is not too loud for hip-hop truck. To the right, these ones to the left, 50%. Let's bring in the melodies. Instruments around 25 major. Liz, I think that sounds decent. Debited and know everything. Every day and know everything. No. Yeah. Yeah. Yeah. Yeah. I met you froze. The game is dirty. Insertion of display from the beginning. City. I got to do what I do from a day once. Yeah. I am a star belonging Myspace now. Yeah. I took me seriously. Do me a favor. Yeah. We own Elaine is delta interfaces. To add leaves to the left. Everything. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Every day. Is right next to each other? Yeah. Yeah. Yeah. Yeah. Yeah. No. Yeah. Yeah. Every time you grow, everything nice, fresh. Anything goes well? Yeah. Female is still there. Everything said. Everything true? Squared goes. Yeah. Yeah. Everything was done like me. English k, trailing behind me. The head is a useless make no skew says, Don't try to mess with the process. No. Straight at the projects. Like if the kids and the blue is everyday? No. No. Yeah. Yeah. Yeah. Everyday. Know everything. No. Yeah. Yeah. Kind of know. Everything cruel. I got to do what I do for my day. Yeah. Yeah, I am a star because Algoma space now, that's at me, serious anemia. If your neighbor, where we are on Elaine steps in a racist, communicate the KDC away. It can bake the bread or break. I stayed the same. The ribbon relative whom you did daily, conquer, break the red for the race, the checks that works the best. Beans and band, nice. Adobe J4, couple of k. The way, boom with the secular. What you say, I needed to form a bromo growth, missing my homies, a safe. I know the city believe in boy, for Google, try and destroy everything, you know. Everything. Everything. Everything. No, yeah. Yeah. Kind of know everything cruel. I met you. It's bloody SAS rarely. I heard the game is dirty. Surge enough. Invisible, game, ready? Slag. What's the repaying is banging number with not with the banks. No. No. Everything cool. Yeah. No. No. Yeah. Yeah. Yeah. Everything cool. I got to do what I do for my day. I am a star belonging Myspace now. Added MRR acidemia favor. We steal from your braces? No. No. Yeah. Yeah. Yeah. Every day. Every day, no. Well, yeah. No. Yeah. Everything crew. Well, great. Now, we have everything organized. We've got the Trump boss, who's the instrument, biases the full bus tricks. In the next lecture, we're going to start mixing the drums because I want you to understand my process of mixing drums. See you in the next lecture. 4. Adding Markers & Icons: One last thing before we start adding processing, if it's, I just went to make it easy for navigation purposes. We're going to add markers to the project. What we're going to do a little bit, go to the intro. Go to the arrow over here. Left-click. We go to time markers. Click, add one. And we'll just say intro. When I hit enter. And that is my intro. Let's look for the hook. I got to do what to do from a day once again, and that is the hook. Right? We're markers, Edwin. I'm gonna say chorus hook, hook. I'm going to copy the text. Control all control C. Because there's more than one who obviously had to do everything. At first. When I right-click over here, nothing happened because there was no markers. To add the first marker, you just go to the arrow time markers, Edwin. After adding the first marker using the menu, you can then be able to just right-click to add a marker every night. Alright, addMarker. Want to say this is a wish? Everything nice. Now the hook. Control V to copy and paste coursework every day. No. Good. Okay. All right, racist cake awake. That's V2. Basis. Communicate the KDC awake and bake the bread. Comfortable. Try and destroy every day. No. Whole gang. Everything. We'll try and destroy everything. Everything. Yeah. Kinda whole gang. Everything. We'll try and destroy everything. We'll try and destroy everything. Everything. Everything. Everything will try and destroy. Everything goes blurry. All right. What's the bank? Whenever the bank at moca. Chorus Hooke. Was the new gun. Well, outro. Yeah. No gum. Well, Luther King, good. Nice and organized. Nice and organized. Another thing you can do, but it's optional, student necessary. You just control instead with the drums control. Good. We're going to add icons. We're going to edit drum icon, hold Shift. Drums for the bus trucks. Change icon, hold Shift. Alright, so uncheck, no need to hold Shift again. Mixed, mixed person, right? Great. Instruments, keyboards. Hold Shift. Keyboards, shift change, I equal o goods. I think I'm Mike Wilbur far for this one. Just to make your project look good. That's it for this lecture. See you in the mixing section. 5. Kick & Bass - Saturation, Frequency Splitting & Side-Chain: Welcome back. In this lecture, we going to start mixing the low end, which is the kick and the EDO eight. We're going to be adding saturation, which is some thickness and openness to the base, which is the arrowhead, in this case, Andy using an advanced technique when it comes to sight trading. So instead of say, changing the whole signal, we're going to say Jane, a specific frequency, which means we're going to use a fruity frequency split. Okay, this is a very, very, very, very powerful plugin. Let's go ahead and play the kick and the bass every day. Nice fish. Yeah, everything impressed by Anything else? All right. Let's just focus on these two for now. Alright? Yeah. Yes. All right. Sounds like the kick sample is already clean, 50k and heavily processed. It sounds like there's nothing that needs to be done. And guess what? I'm gonna do anything. I'm just going to make sure that level is On Point. Look at EQ, parametric. Eq is something happening. I want us to use visual EQs is to have an idea of what's going on. I want to just focus on those frequencies, the high and mid-frequencies, the ones that most people will just chop off for no reason. First, let's see what that sounds like. There is a distribution sound and I wouldn't remove that. Why? Because it's adding some punch and oomph to the mix. They use as no need to just use EQ on everything, guys. If it doesn't make sense to eat, you don't do it. This kicks sounds dope essays. I'm not gonna do anything. Just like I said. Let us play the solo. It great stuff. So what I'm gonna do now I'm going to add a saturation plug-in, a free plugin by data life, which is sought sage fitna. The sausage fitna, as you can see, has an image of a sausage. Okay? The more saturation fitness of thickness you add to the signal, the manner the source age looks. That's what I like about this blogging. Given the real though. Okay, so we're going to adjust their fitness knob so that you can hear what it does. It adds a bit of distortion and tape saturation. Look at the sausage. Now this EDO eight sounds mean we don't want to go too crazy. All right, let's build it. I just edit 5%, but it's often now the plug-in get with the plugins, that five per cent Booster. I like it. I like that 5%. Let me hear it from my monitors real quick. Sounds good. Standard the volume a little bit is the error rate. Alright, let's add an EQ and see if there's any noise, maybe some frequencies we don't need from the EDO eight. Let's solo the arrow aid again. Shopify top end and see if that changes anything. Lopez. With this EQ, I'm not cleaning, I'm adjusting the tone of the EDO eight if you can eat the market, the more the tone changes. When it mixing always the creatively. It's about making sure that everything sounds nice and everything. But please use your creative mind. Isn't to the US. You can change the sound of his airways. Scopic. Since days already distortion in some top Ed frequencies from my kick. I don't want a lot of debt in this arrow eight K. So that's why I'm trying to chop off the top and the mid-range from these 808 because they have to work together in a splay. Fairly me hear from a monitors. Without the EQ. With the GIG. Yeah. Well, yeah. Great. Now it's time to use a technique called site chaining, but this is advanced side chaining because we're, we'll besides chaining specific frequency, instead of keeping the old signal when the kick hits a want my arrow eight, low end to dip. But the low maids of the 808 and the top end of the EDO, it still plays so that you can hear the kick and EDO it at the same time. But you won't hear the deep because we won't go crazy with the side-chain. The typical website chaining is we're going to select the cake. Right-click on the arrow side chain to this track. Fruit to parametric EQ compressor. Select new kick, such an input kick. The only way you can see the new kick here is because you send a side chaining key to this arrow it. Now I can see that I've got that. Let's play a signal. Yes. Yes. Okay. So what I'm gonna do, I'm going to chop off all the attack. Remove the realist because I don't want the compression to hold on for a long term. The knee all the way up the ratio all the way up. Let's turn down the threshold so that you can hear the compression, the site training in this case, Let's go. You can hear that care when the kick hits the SOC chain volume goes down real quick and goes back up real quick. Sounds way too much like an EDM track. Squirt a little bit. Now you can hear the kick. They are not competent because the arrowhead gets out of the way. When the kick hits. This is decent. This is a dope, dope, dope technique, but I wanted to show you an advanced technique. So let's remove the fruity limiter, delete, kick. Let's remove this site chaining. Check this out. What are we going to do? We're going to add a cool plugin called fruity frequency split. Every day. Nice. Yeah. Anything else? Yeah. Everything. So now we've got the fruity frequencies split on the age of eight. Let's follow the arrow eight. As you can see, here, is a gay, which is a level for the low end range. You want to widen or narrow the band. You can use this one for the low end and top meets. This is morphing EQ, but it's a frequency split to go down a little bit more. If you want to call it a bed, you just right-click on it. Right-click. Go up a little bit. Up to 150. Okay, we've selected the low-end up to 158. Let's play everything again. What are we going to do now? We're going to send them the portion of selected to another trick. It's about to get exciting. Let's go. The first thing I'm going to do, I'm going to select the arrow side chain to track number 3131. I'm gonna say this as an 808 BD, low frequency. Enable it. You can read down year that these ascend parameters sense. So using these knobs, you can send signal to the tricks. Let's, for example, you want to add reverb only to the mid-range of your track, you can send this to another track and effect only that frequency band. In order to do that, make sure the trip and side-chain to the specific trip so that the frequency split can pick up that signal. In this case, right-click arrow a BD, low frequency. Remember that trek was selected. Let's play. Now we have two low ends. So what are we going to do on a switch off the original one? Split again. Turn down the volume. Use Alt left to move this one because I wanted right next to my ANOVA. Select again 808 BD, ten of the volume. As you can hear that the only frequencies that are playing from 150 heads going up. Let's bring in the low end. What are we going to do now? We're going to side-chain only that frequency using the trick, you already know what the limit, okay, so I'm going to enable my kick and side-chain to this low frequency side chain to the strep. Well, let's add a fruity limited. Set it to compressor. Right-click on the side-chain, select kick. Let's switch off the attack. Switch off the realist, the sustain, push the knee all the way up and push the ratio of the way. Let's play the threshold. This is the knee. For visual purposes. All the way up. This is the ratio. How hard it compresses, push it all the way up. Let's check this out. You're going to hear the low mids and the top end of the 808 days. That's at the low end. That's way too much site chaining. Going to push it back a little bit, let's say minus 20. That's it. Let's push the volume down just a little bit. From the low frequency. Sounds good. Anything knows everything. In everyday, nice. You can even hear the side chaining. Thus the cool thing about it. You can easily hear the suggesting, what do we did? We just use a frequency, split it and picked a frequency we like, okay, at least frequency competes with the cake. So what are we going to do to make sure that the low end is claim when you're going to hop off unnecessarily frequencies instead, want to kick dominate. And we want the airway to continuous or putting the cake. But when the kick hits at the same time with the 808, the 808 low frequency is just going to dip a little bit, not completely to 0. Dip a little bit, COBIT up real quick without you picking up what's going on. That's the whole purpose. This is not an EDM track, it's a hip-hop truck. Okay, that's it for this lecture. See you in the next one. 6. Percussion Instruments - EQ , Transient Shaper: Welcome back. In this lecture we're going to start mixing the package shins, the snares, crash shoes, high heads, all that good stuff. So we're going to focus on applying EQ just to remove frequencies we don't need. And adding some byte using a transient shape. Okay, so let's just change the icon over here. It's disturbing. We visited. Boom. Everything nice. Anything else? Yeah. Everything. Everything. Everything nice. If anything. It's to show if the instruments and the vocals. This narrow quick, pull up an EQ. Let's see what's going on there. We don't need that. Going to do. What are we gonna do? We're gonna show up with the low-end. This snare. I want it to be sharp. I don't want to mess up with my low-end. So we're going to remove the low-end from this snare are all want to mess up with my kick and base? That's fine with me. Do what sounds good to you. Okay. In this case, score again, around 200, that's perfect for me. All right, let's see if we can get away with boosting some frequencies just to add more sharpness. Like that. Boost is adding more Power to that snail. Don't trust. Just booster. Three dBs. Sounds good to me. See if we can boost them all. I like that. Let's remove the EQ. With the EQ. You can hear the difference. What I'm going to do next, I'm going to add a transient trip or plugin. We're going to use a free plugin by flux, which is a Beta Suite plug-in. Nice. Let's play. What transience shape was due. Basically, manipulate the transient. It's either you want to soften a sharp sound or make it sound more sharp and harder. For example, in this case, let's go to beta. It bites a lot. Again, let's go to sweet. It comes a chop off. Some of that initial attack, kinds of chops it off. So it's like it's pushing it back in a way when you hear it, but it's kind of chopping off and softening that initial attack. Okay? But in this case I'm going to add more grid mode. Check 10% b2, Let's play 15%. Let's play. Let's switch it off. I like that. Let's add more sounds. What I'm going to do this club, I went to soften it in a whirlwind to chop off some of the low mid from it. I don't want it to compete with my snare, but I want it to be there. Also. Guess what? I'm going to select a high-pass filter. Mall. I want it to sound very light but still bright as easily. All right, Let's bring in some more. Add an EQ to this open hat symptom the sound sounds clear, but some samples have some noise, maybe in the low end, in the low mids, always make it a habit to add an EQ and listen. Gap, but in this case I want you to use a visual EQ so that you can see, you can see it is some noise over we want to chop it off. Sounds good to me. Let's look for a part where the clothes hits. Alright, let's turn down the question. Sounds good to me. I'm onto here where I want the pending to be that hard lake. Like 50%, that's way too much. So around two to five because I want you to hear some of it from the left side. Also. Let's throw in an EQ or parametric EQ, highpass it. You can use that as an effort. Rules do it, but I'm going to leave it as is. Let's do the same thing over here. At a parameter. I wanted to jump off the top end also from this one. I don't want to sound too different from the other close. I want to say lowpass. Listen to what I'm doing about isn't this one too different, but they are different. I liked it. I liked it. All right. Let's bed with every day. Yeah. I am younger. Must waves now. Took me serious and Amy Well, yeah, we aren't Elaine stage on a racist for Medicaid the cake awake and bake the bread a break. Stay the same. The random relative, fair, right? The focus is still on drums. So what are we going to do in the next lecture? What we're going to start adding some excitement to the drums, especially the packages. See you in the next lecture. 7. Percussion Instruments- Reverb & Delay: Welcome back. In this lecture, we're going to start adding some creative if it's to the drum loop again, let's go. Let's remove the instruments and the vocals. The first thing we're going to do, we're going to create a reverb, send Trek drums, play. Let's add a reverb. What I'm going to do now, I'm going to hit left to move or the truck I wanted to be right next to my drum bus. Values command arrow left for Mac users. Let's play. Let's change the mixer settings. I wanted to be illustrated wild-eyed. Now let us try extra large. Now we can see the drones. You can see over there. I'm going to send some of the signal to the reverb send trick. To do that by left clicking. Make sure you select. Left-click on the arrow. Just the amount of reverb you sent to it. This is the parameter we're going to use. Solo play with the reverb. What I did here as switched off the EQ settings from the reverb. Increase the room size. Decay time. What I need the dry, this US-centric warning, it the reverb from the strike and the wet level all the way up. And just decrease the amount of signal was sent. Again here it's way too market's way to wash. There isn't us resolve the EQ settings from a reverb. I want to create a visual example, okay, so we're going to use a parametric EQ to remove the frequencies that are messing up their web signal. Let's go. I'm going to do, I'm going to select the type which is the low-pass. Given here a bit of reverb the top. Now we're dropping it off. Sounds better. Some of the low end hypos filter. Let's leave it there. Strip off more of the top end mill signal to the reverb without the AQ. All right, Let's clear all the drums and also select the track and left-click on the central atom. Already revamped on this clip sample. Okay, let's go over to almost base. Let's see, adding more reverb is going to make it sound better if it sounds bad. And let's remove it again. Listen to the clip. Removed the AQ much at the ATO. Now the reverb sounds clean and more controlled. Thus, the whole purpose of using this technique and what I like about it when you're using an EQ instead of the normal reverb plugin. It's a visual, it gives you the visual experience. Okay, let's play just a little bit on bread. Solute apart. See if we can add some prevented this. I just edit tiny, tiny, tiny, tiny little bit of reverb, which is 2%. Sounds good to me. Compared to this. Compared to this. Doesn't do this. It adds more life to it. Every day. Without the reverb. Let's add somebody to the Tom section. I want to hear what's going on in the top like that. All right, let's give it over here. Let's edit reverb. Just 5%. Mall, mall. No, sorry, I switched it on. Just 4%. Let's Play. Now on percussion sound more wider. They're taking up more space just with one plug-in, a reverb track. Alright, let's save, let's see if we can add some to the transition effects like reverb In percent, split more of him to pull it back. 10% is fine. All right, Let's see. I think we can get away with some room available year delay for the drums. Drums like that. Hold Command. Left to move the truck. It's Alt, arrow to the left for PC. Command, arrow to the left for Mac users. Signal. Delete to listen to the instruments. First delivered was sounds good. Let's just remove the dry signal from this delay. All right, cool, cool, cool. Google. Moreover, subdue it. All right, Let's play whatever their everyday, no lagging. Got the whole game, everything. Got the whole game. Everything cool. I'm pretty sure you can hear the difference. Small little details do for range rate, basic and a merger mixes and pro mixes always go a little extra myelin you're mixing and that's it for this lecture. See you in the next one. 8. Drum Bus & Parallel Compression: Welcome back. In this lecture we're going to start applying bus and parallel compression, focusing on the drums. And then from there we're going to start mixing the instruments and the vocal. So first, I want to use the drum section to introduce the new advanced concepts so that when we apply them to vocals and everything, It's more familiar. Let's go everyday. No short the instruments, vocals, my drums sound thick and punch you again, but I want to glue them and tighten the old drum check altogether. That will add more energy and more tightness and consistency. Okay, what are we going to do? Let's go ahead and add a dynamic process, in this case, a fruit tea com press. Okay, Let's play which is two to one. I'm just going to do a light compression. Medium compression, the release. These are drums. I don't want to slow release. So I'm going to set it to seven milliseconds. The attack. I'm gonna leave it at 30 milliseconds and hear how that sounds and then we can adjust from there. So let's play. Now you can hear the compressor compressing the signal. Go again. Switch off, the compressor switches. You can hear it compressing a kind of stand on that basis a little bit. Let's go compressor off. Now you can hear the compressor compressing. It's turning down the volume, it'll beat and it's kind of squashing the signal a little bit. Let's pull back. The threshold will be at mol minus 20, that's me. Minus 22. You can hear the compressor tendon and the volume. We're going to use the game for the makeup gain. Let's just 22 dB boost. Switch off the compressor, switch it on, back off. Back off. It's not heavy compression, but you can hear that when a switch on the compressor, it adds more energy to the drum bus. What are we going to do now we'll go into two parallel compression, which is taking the original signal over compressing it and mixing it in with the original drum signal to add more grit, more energy, and more power through the drums. Let's go ahead. Let's create a new track, parallel compression. Comp. I'm going to save drums, the color. So all my drums go straight to the drum bus. Instead of doing this, I'm going to add a plugin called fruity scent. Going to add fruit to send. The next thing I'm going to do, selecting makes sure that Trump has selected. I'm going to the parallel comp drums. Right-click on it and say side-chain. The strep. Go back to the fruit, his end. Right-click and select send to parallel comp jumps. Let's Play. Now we have a duplicate signal. That's the interesting thing about this plugin. The fruit is sand, sands, the signal even before the fader. So this jump bus is off, but you can get the signal on this end. Thus, the dope thing about this plugin is the fruity sand. It comes with Fruity loops. Right now we're going to focus on the signal. Let's go ahead and add a compressor to compress. So I'm going to set the spine, slow release energy and 60 something. A tick to be, let's say 10. First attack hard compression. Let's Play. Get tendon the volume LLP to K on yours because earphones, because we are about to mess up the signal, Let's go. All right. This is way, way too much compression. Check this out. So I'm going to turn it down. I want to move these right next to my drum bus. Okay, so I'm gonna say Windows command hold. Mac uses arrow to the left. Check this out. Wherever track that's not rooted. Rooted to the bus. You remember the trek created for the low frequency. When we were splitting frequencies and doing site traits can still hear some base. Let's fix that and make sure this is exactly like all the other trump sounds. It goes straight to the thrombus, nothing else. So we're going to select the law freak and say right-click route to the stroke only as play. And check the side chain if we're still on. Yes, that's perfect. With the cake. You can hear the crashes and the high heads because they are playing through the reverb drums and the delay. As you can see over here. Okay, Let's play the over compressed signal. Let's switch it off. Let's bring the origin at one. Listen. Let's look where a business sexual mix it in into the kick and snare. The parallel compression channel off. Should've done part where he's an 88. I wanted to hear it through my monitors again real quick. Sounds good to me. The drums now sound more heavy, more energetic and more aggressive in the way this is a trip Trek. I want these jobs do head heart. That's the magic of parallel compression. Let's play with everyday. Everyday. Everyday you press anything goes well. Yeah. Everything said. You don't want to go too crazy with it to care, as you can see at the level of parallel compression track is not way too high. I'm just mixing it in just to add more grade, more energy, more punch. And that's how you do parallel compression in your mixes. You can do this on your lead vocals to add more energy. And every day you can do this basically on anything with mixing. Always think outside of the box. And you'd be making some unique and exciting mixes you get. And that's it for this lecture. See you in the next one. 9. Mixing Keyboards - EQ, Compression, Saturation: Welcome back. In this lecture, we go into Stat mixing our keyboard instruments like the sizes, pianos, pads, fluids, all that good stuff. So we're going to apply EQ compression and see if we can add some revamp, make it sound more exciting. So let's go ahead and play the trick. Pay some extra attention to the lead instrument. And then we'll go ahead and mix everything else. The low-end. Definitely some noise over there. Opus, this short book. But you don't want to go too crazy. Chopping off every instruments, instruments, the low mean in a little bit of base mix, it's an original at the very same time. It adds more to the mix. You don't want a thin sounding mix. Lupus. I think that sounds good to me. Okay, the next thing I'm gonna do, I'm gonna adequate pressure. Just create consistency. To medium compression. Visit the release two to three minutes. You can hear the compression makeup gain. All right, let's hear the difference. Switch off the compressor. The compressor. To me it sounds like it's more energetic, more consistent, more computed. It's played with everything else. What to do from a day once I am in my space now. Yeah, I took me serious a deme if we aren't racist. Sounds good. Let's go forward. More instruments. You can hear this metro again already has some interesting if it has some reverb to it, a bit of delay, beautiful crossbite tuple. If it gets there, what I'm going to do, I'm just going to edit each u and let it be parametric EQ. Let's just chop off the loan. Two 100 heads. That's perfect for me. Associate with the drums. Listen to that low end. That sounds good to me. Okay, Let's go forward loop for ourselves. Right? That's the pyramid to get you to this one also and just remove the lower. Let's see if we can boost some of the high meets. Just to make it exciting. One comma five dB boost, that's bluffing. Display. Just turn down the volume a little bit. I think we can add some saturation to this sound. Now. Let's use the color nor the colonoscopy is to add brightness to the sound. Run 30%. That sounds fine for me. Let's play with everything. Let's go forward from ourselves. Okay, We have a quiet sound or a year. All right. Let's add an EQ. The cortisone has med is meant to add drama to the breach. So let's jump off the low end first. Let's see if we can boost the top. Mead's little bit. Just a two dB boost around 4.6 K. Let's go ahead and edit saturate, plug in, sausage retina. Sounds good to me. Let's play with everything. Yeah. Yeah. Yeah. Everything. Everything. Everything. Everything. For now, the song in everything. Everything. We're just going to add a parametric EQ to this one. It already sounds dopey disease. Just to make sure there is no noise over here. Even if we don't hear it. It suggests the panning to 15%. Then I can hear from board speakers by tomorrow more amplitude on the left side. Because sometimes hard painting can leave a lot of room in the stereo field. So that's why I like to mix like twenty-five percent pending, 30% pending, 10%, 50 percent. No lake HUD painting, unless it makes sense. Oh, it's just an automation. Pay the saw. Sounds good, Sounds good Sounds good. I'm sure you are wondering what's happening with the bass sounds. I didn't do anything on the bass sounds. And the next lecture we'll start mixing the base. So what I did here, I just highlighted the low-end, the Carla and just edit a darker color so that you can see it. And that's it for this lecture. See you in the next one. 10. Mixing Bass - Dynamic Processing, Side-Chaining, Saturation: Welcome back. In this lecture, we're going to start mixing of the bass instruments are already highlighted them with the darker color, as you can see wherever new mug over here. And we also have a filtered base over year. What I'm going to do, I'm just going to play all the instruments will be clarity. British show. You can hear that there is an HOA there. We already mixed the kick in the airways. And these also at fed low end sound, which is the New Mode base in this section, Let's play again. I'm going to switch off all the instruments and only play the low sounds. We're going to focus only on the low end. The first thing I'm going to do, I'm going to see if again, add some dynamic processing over light compression. Add more punch to the base. Set to display gender on the threshold. To start compressing. Switch off the compressor. Should on just the attack. Let's begin 50 milliseconds and play. Let's use the makeup gain just to make up for the gain were lost while we are compressing 3D, we boost. Shut off. One more dB. Let's see it without the compressor. The compressor. Without the compressor, it sounds way more punchy. Let's add an EQ and see what we can do with the EQ display. I wanted to hear what's going on. Yeah, I'm just gonna trip off the low-end. Who's in a highpass filter. It just doesn't pay a Beta distribution over there. I want to remove that. What I'm going to do, I'm just going to turn it down just a little bit again. I'm just going to turn it wrong. Let's say 600. And it downloads, buy Phoebe, display, pick up, cut only dB and play. You can still hear the distribution, but we just tend it down just a little bit. I'm going to look for the most dominant frequency over here. Up until two or red. That's where most of the lower end is. Cool. We're just going to reset that. We're gonna leave the EQ as good. The next thing we're going to do, we're going to send that low frequency to another trip k. But before we do that, let's add some such Chu ratio ratio. Let's use the sausage Bednar display. Switch it off. With just the plugin all the ys, a sound difference. Which means I won't do anything. I'm just going to add color. 10%, 5 percent. Sounds good to me. Kayla's turn down the volume just a little bit. Let's play it with the 808. I'm pretty sure you can hear the EDO eight clashing with the base of salt. What I'm going to do now I'm going to send the low end of the new MOG up to 200 heads to a separate track and only side-chain those frequencies from the base and letting everything after 200 heads pus. So let's take an empty track. It Alter command if you're using a Mac alt PC, left arrow. Great, That's the empty trap. I'm gonna say new, More. Select a dark color. Let's make it, let it enter display. Now I'm going to click the new mug track. Right-click on the New Mode low frequency truck side chain to this trek. Second thing I'm going to do, I'm going to, instead to plug in cold fruity send, it comes with Fruity Loops. Uk fruit descend. Send two. I'm going to right-click over year. I can see the new more low-frequency and select that. The bad thing I'm going to do, I'm going to make sure that this new more glow frequency is not sending signal directly to my master. I wanted to send a signal directly to the instrument bus. And then the master trip will receive all the instruments from the instrument bus. Okay, so let's do that. Click route to this truck only. This double-check if we didn't mess with our site training or suggesting a steel on, Let's play my bed. We're not going to use the fruit to sand. We're going to use the fruity frequencies, split it so that we can be able to say in this specific frequency range. Let's do that. Let's solo the low frequency range. Going to use the crossover to select how much low and we want to control. So I'm going to adjust this frequency knob up to 200 hertz. Let's play. And that's the only part I'm going to side-chain, goes straight to the sand parameters. Right-click on the low frequency and send the low frequency signal to the New Mode, low frequency. It's switch it off so that we don't have duplicates. Sedna switch it off over here, display none the volume. In this channel you can only hear up to 200 heads of the more glow base split with the original one. But without the low frequency. What are we going to do now we'll go on to Team which is a side chain with a frequency that's competing with the 808. So let's go ahead. And bring in the EDO eight. Let me use the kick to side-chain that frequency. So I'm going to select kick to the pneumo. Bringing a fruit till limited to do the side-chain and fruity limiter. Acidic compressor from limited to compressor. Right-click and select the kick. As an input to each of the attack. Switch off the release, sustained tendon, the threshold. Let's play. As you can hear, nothing is happening because the ratio and the knees steel of gear. So I'm going to crank up the ratio. Right? Let's just take it to the max, which is going to one knee all the way up also display. Let's go crazy because I wanted you to hear the great thing about this trick, site training, only a specific frequency. I'm sure you can notice that the side-chain ING was way too high, which is as deep in that signal heavy when they kick hits. But still, you can hear the low mids of the Newmark, your brain or your ears or tricked in the way of that, you don't even pick up the site chaining display. Just a little bit. Right? His bed with everything else. The volume just a little bit. How are you going to hear them more basic in here, the kick and it's not crashing because the volume is dp every time the kick hits. I'm pretty sure you're getting here that the arrowhead is dominating this area, but that New York is still there and it's not messing up. The signal is go ahead and go straight to the filtered. Be scared us. Play here this right, Let's solo the filtered base. Alright? If that base is there to make that bridge way more dramatic. So I wanted to sound row as is what I'm going to do. I'm going to throw in an AQ and see if we can do something with the EQ, maybe boost or cuts it in frequencies at saturation and try to make it work with the new more bass in that section because they are sharing that space. Okay, so let's start with the filtered Business. Add an EQ display. I just boosted tree DB around 1.4 heads. I think I can get away with removing some of the low end from the filtered race. I pass. Play with their new mug. Scroll up. I just wanted to be a soft cut back. Right? Let's add sausage fed now to make it more dramatic display. Some Karla played with error there. There is some competition over there. So what I'm going to do, I'm going to just say chain though walls signal. I'm going to use them more below frequency as the key input to soar tool or this filtered piece of gear goes straight to the food to trap base, sorry, and Adafruit to limit jar. Let's set it to compressor. Look for it. In port is gonna be the newer, more low frequency. Australia's for sustained for knee all the way up ratio, all the way up to threshold. Slip it over here. Let's Play. Now you're going to hear the side chain. Okay, let's go easy on it. Let's go easy. Let's play listening to the bridge. I want that area to. So unless you to sudden loud sound crazy, the light side chaining will work for the song. Let's play. For all 101. Let's bring up the mid-range and the top rage. I liked it, I liked it has played from the begin news. I think the clips sounds March bit with the more of AB. So I just posted trypsin, which is from 12 to $0.15. Display would advise the j's, the world's the Bears Ears and band. Please. Read the instrumental. The beat sounds great. I love how it sounds. Okay, so in the next lecture we're going to start mixing the Volcker and that's it for this lecture. See you in the next one. 11. Vox EQ, De Esser, Compression Part 1: Welcome back. In this lecture, we're going to start mixing focus. We're going to stick with the basics which is applying EQ DSN compression. Let's play the song. City. I got to do what to do from a day once I am sobbing longer my space now. Patrick mysterious, a deme in favor. We own Elaine stuttering are racist in everyday. Everyday. Everyday. Everyday. Everyday. Press. Anything goes well. Yeah, they will do everything said. Everything was done like me. Right? That is the vocals display the intro. It's sitting right to solo. You just right-click on the China. Like this. Go over here, right-click, Right-click greatly. Down my city may go ahead and edit parametric EQ to start with the low pass, Right-click type. Highpass filter, sorry, split my flow up to one hundred fifty. One forty. That sounds good to me. Let's play loud enough. Down my city. Again. Let's go ahead and add a compressor just to add more energy. We're going to use waves compressor plugin called bulks. Play. What I like about these compression. It's a one, no, compression. And release knobs are on A2. You just pull down the compressor and it will start compressing. Let's play down my city may. Well, yeah. Around minus four. That sounds good to me. Let's enable the second truck. Sitting down my sitting listening to it. I think the second intro take all be dope. If it's more in a telephone or read your effect. While this one sounds as ys, y, I'm going to do, I'm going to go to the second interject at a parametric EQ to display. Right-click on the first band select type high-pass filter, scroll up and down to adjust the band. Play. Dhamma city lowpass filter. Yeah. Yeah. Yeah, remember, lowpass filter, we're letting the low frequencies pass, high-pass filter will letting the high-pass frequency is plus, which means highpass. Wood chopping off the low-end from the left side. They're chopping off the top end from the right side. Lowpass. Highpass. Let's play. Sitting. Yeah. Yeah. So what a DDA of a lot of low and the low mids. And then a chopped off the top end. Making it sound like this. City manager didn't cut some more. Yeah, it all depends on what sounds good to you. We applying EQ, but we're also applying it as a creative if it is a filter. Let's play my city as good to me. Let's edit this one also. Minus three. So it should switch it on. Yeah, I like that. Splay with the second truck displayed with the beat switch of the effects. City. Split with the effects. I like it. I'm sure you can hear own best interests. Take this a bit more volume, a bit more amplitude, and that is because of the compressor. I can just pull it down a bit to TB. Alright, sounds good. So far. Let's go straight to the hoax section. Let us go. I got to go what to do from a day once, if I am saw belonging Myspace now, took me seriously. Do me a favor. We own. Elaine raises the whole brain everything. Every day once. Right. Let's go ahead and solo. The main take. I got to do what I do for my day once. Yeah, I M star belonging Myspace now, let's go ahead and add a parametric EQ. I'm going to right-click and do a high-pass filter, which is chopping off the low end of the vocal. Let's play. I got to do what I do for my day once. I M star belonging Myspace now took me serious that do me a favor. We own a lay in the steel to erases everything, you know. Everything, you know. Yeah. Got the whole game. Yeah. Everything crew. Everything, you know. Everything, you know. Yeah. Yeah. Everything crew. I got to do what I do for my day once. I M star belonging Myspace now. Took me serious that do me a favor. I think we can get away with boosting the top and on the vocal could do that. I got to do what I do for my day once. I M star belonging Myspace now. Took me serious that do me a favor. Yes. We are in a lane is still true and erases everything, you know, everything, you know. Yeah. Cut the whole game. Yeah. Everything crew. Everything, you know. Everything, you know. Yeah. Yeah. Everything crew. I liked that. I liked the top and post. I'm not mentioning the numbers because really matter what matters is how it sounds. A splint got to do what I do for my day once. A super on the mid-range. Just to see if there's any more deep boxes sounding like frequencies. Three Kd for FK, you know, modified those. Play. I got to do what I do for my day once. I M star belonging Myspace now took me serious academia. If we own Elaine steel to erases everything, you know, everything you know. The whole game. Yes. This is what I was looking for. So I'm just going to drop off. I'm just going to turn it down to DB play. I got to do what I do for MCDA once. I am a star belonging Myspace now. But please remember that when you posting a frequency like that, it's easy to feel like all the frequencies sound bad because you posted it. Just print these and get your e is used to looking for those frequencies. But the Gucci vocal chopping off like making like 23 chops. And necessarily, unless you feel like it's necessary, these folk, who would the two dB cut? Sounds good to me. Let's play. I got to do what I do for my day once. I am. I wanted you to hear the difference before the EQ and after the EQ. Let's go ahead and switch off the EQ. I got to do what I do for my day once. I am a star belonging Myspace now. Took me serious that do me a favor. Let's switch it on. I got to do what I do for my day once. I M star belonging Myspace now. Took me serious that do me a favor. We own Elaine is still true and erases everything, you know, everything you know, got the whole game. Yeah. Everything crew without got to do what I do for MCDA width. I got to do what I do for my day once. I M star belonging Myspace now without I got to do what I do for my day once I M star belonging must be right, sounds more clear and sounds more bright with that top. And one to two dB boasts. Let's go ahead and add a d assumed. Let's go ahead and edit DSO. I'm going to use a DSLR by waves, where you add squared and play. I got to do what I do for my day once I am belonging Myspace now. Took me serious, do me a favor with the DSO would just trying to soften the sharp S's. Let's play. I got to do what I do for my day once. I am a star belonging Myspace now, let's switch it off. I got to do what I do for my day once. I M star belonging Myspace now, let's switch it on. I got to do what I do for my day once. I M star belonging Myspace now. Alright, sounds good to me. Not too crazy with just using the threshold. Sounds good. I didn't need to adjust anything. Wife point 5k. That's where the sharp S is. That's why I didn't have to super around and adjust this frequency parameter. Let's got to do what I do for my day once. Now it's time to add compression. With the EQ. We're cleaning up the vocal sounds more clear. With the DSO is softening the S's. Now that we have with the Sedna, we can go ahead and more energy amplitude to it using a compressed and compressed mono display. I got to do what I do for my day once. I am a star belonging Myspace now, took me serious, do me a favor. I don't want to super slow release and I don't want a super fast release. I'm going to set my release to, let's say eight assuming sigma. Honestly we did around 15 and set my ratio to, let's say full gear. This is a vocal. So the ratio, we can go with that crazy. Okay, let's play. I got to do what I do for my day once I M star belonging must be o obviously again here that nothing is going on. It's because we haven't touched the threshold which is certain the point where the compressor should start compressing. Let's play. I got to do what I do for my day once I am belonging Myspace now, took me serious to do me a favor. We own a lay in the steel, trust, erases everything, you know, everything you know. Yeah, gotta whole game, everything cruel. Let's switch off the compressor. I got to do at a duple MCDA once. I M star belonging Myspace now, I got to do what I do for my day. Once. Belonged Myspace now, right, It's pull it back, pull the threshold. Got to do what I do for my day once. I M star belonging Myspace now. Took me serious a deme a favor. All right. Sounds good to me. Do what I do for my day, but I'm pretty sure you can hear that. Were lost a bit of volume one we're compressing. And it's what happens when you use a compressor. But we have a makeup gain knob, which is the gain parameter over year. What are we going to do? Let's play. I got to do what I do for my day once. And just add some gain to make up for the gain we lost while compressing. Let's try two dB. Let's play. I got to do what I do for my day once. Suppose I am a star belonging Myspace now. A MOOC. I took me seriously, do me a favor and go easy with the threshold instead of posting more, Let's just go softer with the compressor little bit. I got to do what I do for my day once. I am a star belonging Myspace now, let's try minus ten. I got to do what I do for my day one. No, no, no, no, no. Minus 12. Play. I got to do what I do for my day once. I am A-star belonging Myspace now, like that, that took me serious edema me a favor. Let's switch off the compressor. I got to do what I do for my day once I am a star, beloved. Got to do what I do for my day once. I M star belonging Myspace now, took me serious a deme a favor. We are in a lane, the steel to erases everything, you know. Everything, you know. Yeah. Got the whole game. Yeah. Everything crew. Everything, you know. Everything, you know. Yeah. No plug everything in. Crew. Got to do what I do for my day once. Like how the belonged. Myspace sounds more energetic, more present, more dominant. But let's see it with the bit. I got to do what I do for my day, right? Let's switch off the efforts to do what I do for my day was I am belonging Myspace now. Mysterious. Do me a favor. State-owned erases everything. Everything. Yeah. Sounds good. But check this out. Switching the effects. I got to do what I do for my day was if I am a star belong and Myspace now, Gim anymore gain half dB. Let's play. What I do for my day was, I am Esau belong a Myspace now without the duple MCDA was longer. Myspace now with effects. Got to do what I do from a day once. I M star belonging Myspace now, took me serious acidemia favor. We are in a state-run, erases everything. Everything. Everything. Now the vocal sound more present. It's dominating, it's taking up its own space in the mix. Okay, so let's go ahead and save that proceed because you know how we do it to save time. We don't redo the same thing over and over and over again. What I'm going to do this, go. Let me express suits. The song is new. We're gonna say this will be the main. The artist name is Laura. Boom. Now that we have with those settings, wouldn't have to start from scratch if we're mixing a similar sounding vocal off the same artist. Let's play. I got to do what I do for my day was I am saw belonging Myspace now. Took me seriously. Do me a favor. We own Elaine state-run erases, everything, not everything. 12. Vox EQ, De Esser, Compression Part 2: As you can hear over here, when we start getting to the everything new, give you the new days a supply chain of vocal. This is the vocal. Everything I know. Everything I know. Yeah, the whole gang, the same thing but we're just adding take to add more onthe because everything new sounds more like a single law type of section. What I'm going to do, I'm going to import that precedes the same vocal, same thing as the same artist, but it's a different take. I'm going to bring up that precede lead support. This is the support. Let's play with this one. From everything, you know. Everything, you know. Yeah. Yeah. Got the whole game. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Kind of gnuplot. I wanted you to hear it. Same volume, same every day. Everyday. I know everything I know. You've got the whole game, so should've everything I know. Everything I know. Everything I know. Yeah. Got the whole game. 18 crew. Yeah. Everything. Know everything. No. I got to do what I do for my day once belonged Myspace now took me seriously. Do me a favor. We are in Elaine is delta and erases everything. Everything. Yeah. That's the peoples of the separating take. Gotta do what I do from a day once I am saw belonging, Myspace now, took me serious. Do me a favor. Elaine, state-run erases, everything. Everything everything. Everything in group. Go ahead. Go straight to play. Everything nice. Yeah. Yeah. Anything Goes everything said. Everything goes. Right. The energy is a bit different. So I'm going to create a new train over year and it's showing a parameter. So the trick, let's play the vocal. Yeah, everything nice. Yeah, yeah, everything. A fresh eye, anything goes. Yeah. That's apply high-pass filter, Right-click type, highpass filter. Yeah. Everything nice. Yes. Go everyday afresh. Anything goes? Yeah. Yeah. Yeah. Everything said. Everything true? Score goes running on 86. Reps don't like me. All right, let's go ahead and post. It's a little bit just to around seven. Yeah. Everything nice. Yeah. Yeah. Every day a fresh eye, anything goes payment was still yeah. Everything said. Everything through. A squad goes. Yeah. Yeah. Everything in blue represent like me. I'm such a nuisance. They trailing behind me. Look for any modern frequencies but around 40 upwards. Yeah. Everything nice. Yeah. Yeah. Everything fresh. It goes yeah. Yeah. It's remote that sorry. Just two dB of the wisdom that frequency you can hear beta rho. That is because of the way the vocal was recorded. Let's play everything nice. Yeah. Yeah. Everyday afresh. Anything goes yeah. Yeah. Payment was still right. Let's go ahead and add a DSO. Someone to do the same thing. Every day. Nice. Yeah. Yeah. Every day a fresh eye. Anything goes? Yeah. Yeah. Good. Let's pull down the threshold is two. Let's try 20. Yeah. Everything nice. Yeah. Yeah. Everything. A fresh eye. Anything goes yeah. Yeah. It's payment was still yeah. Everything said. Everything through a squad goes. Yeah. Yeah. Everything blue. Rep was don't like me. 19.1. Sounds good to me. Yeah. Everything nice. Yeah. Yeah. Everything. Fresh. Eye anything goes? Yeah. Yeah. Let's go ahead and add a compressor. Smaller the same route in compressor mono, splay, tree. Tree ball five to one. Let's make it 17. Survey the vocal. I don't want it crazy. Slow release or crazy for us to release at the same time, the attack. It's a bit faster on 17.5. Let's play. Yeah. Everything nice. Yeah. Yeah. Every tear fresh. Anything goes? Yeah. Yeah. Yeah. Everything is pulled down the road. Everything nice? Yeah. Yeah. Every day a fresh eye. Anything goes? Yeah. Yeah. Yeah. Hey, everything's said. Everything true. Squad goes. Yeah. Yeah. Everything in blue represent like me. I'm such a nuisance thing. Let's go ahead to make it a straight truck. Yeah. Everything nice. Yeah. Yeah. Everything fresh. Anything goes? Yeah. Yeah. Pay me always do. Everything said. Everything true. Squad goes. Yeah. Everything in blue represent like me. I'm such a nuisance. Social complexity. Yeah. Everything nice. Yeah. Yeah. Everyday afresh what the countries. Everything nice. Yeah. Yeah. Everything fresh. Anything goes female is still get a everything said. Everything true. Square goes. Yeah. Yeah. Everything blue. Replica. Let's hear that with a bid. Everything nice. Yeah. Everything impressed by anything goes. Everything said. Everything through. A squad goes. Everything. Was don't like me. Trailing behind me. Thank the head is a useless. You'll see it without the effects. Everything nice. Yeah. Everything impressed by anything goes with the UPS. Everything nice. Yeah. Yeah. Everything and press. Anything goes yeah. Yeah. Yeah. Everything. Everything. Everything. Rebels don't like me. Alright, let's go ahead and save that reverse. We're going do we're going to say New. Save it every day. Nice. Yeah. Right. Let's play it from I got to do what I do for my day was I am saw belong and Myspace now took me serious acidemia favor. We are in a lane on a racist everything. Everything. Everything. Everything. Everything. Yeah. Everything nice. Yeah. Yeah. Every time you press anything goes yeah. Yeah. Yeah. Everything said. Everything through everything. Prevalence don't like me. Trailing behind me is a useless no excuses. Don't try to miss it. The procedure straight at the projects. I gave the kids everyday know. Everything. Got the whole game. Yeah. Everything. Every day. No. Good to me. Sounds good to me. Let's move ahead In the second. Bruce. Me, decay, decay away. Can bake the bread a break. I'll stay the same. The random relative fill and communicate the cake awake and bake the bread a break and I stay the same, the same input level, same artist. Let's bring in the cake awake, bake the bread a break. I'll stay the same. The random relative fill and faked it. Homey. You did bring in the pursuit and then adjust from there. Okay. Good. To me, the cake, the cake awake and bake the bread a break. I'll stay the same, the real unreal to fill and never faked it. Homey. You did them daily. Welcome, correct. The bradley of what? The rags that checks the works, the bands. The bands and band least I do the J4, a couple of k. Get it. The way I heard the boom was the circularly a check what you say, I need to check on growth. Let me show my home is safe. I noticed city believe in boy, smooth, just what's meant. Communicate the KDC awake and bake the bread a break. Stay the same. The ribosome relative whom you did nearly. Uncle break the bread to rise the chest. That works the best. Band. Nice. Couple of k. Get it. The way I heard the boom with the secular. What you say, I need to check on growth, mission, my homies, the sake, I know the city believing the boy. Try and sounds good to me. We do have a low, deep voice. Backing of a full cool comedic begging. The first section of the committee, cake, the cake away, can bake the bread a break, stay the same. The relative embryo to fill a nav or vague the Hominidae at him dearly, Uncle Rag the Bradley. I'm for the rags, the checks that works. The bands, the bands and band lease. What I'm going to do now, I'm going to add an EQ. Communicate the cake away, can bake the bread, right? Glenn? Hypos communicate cake awake and bake the brand a break. I stayed the same, the relative embryo to fill and never faked it home that you did them deadly. A Congo red, the Bradley. I'm for the rags, the checks that works, right? Another filter to communicate cake away, convey the brand or break it. It is same the relative, relative fill and never faked it home with you day at him dearly, I can correct the Bradley communicate the Kq squared and beta compression using the artworks squared, committed cake, the cake awake and bake the bread a break and I stayed the same, the relative, relative fill and never faked it. Hopefully you did them deadly. Uncle Rag the Bradley, um, for the rags that checks that works. The bands, the bands and band lease. Committed cake, the cake awake and bake the bread or break it, stayed the same, the relative, relative fill and never faked it home that you did them deadly. Uncle Rag the Bradley. I'm for the rags that checks the works, the bands, the bands and band least. All right. That's it. Let's just pull it down just a little bit. You don't want to hear that. It's just a supporting take. Committed cake, the cake away, come bake the bread a break. I'll stay the same. The real unreal to fill and never faked it. Homeo dad, him dearly, welcome to read the read. Afford the rags that checks the world's the bands. The bands and band together communicate the KDC awake and bake the bread a break and I stayed the same, the real, real to fill and whom you did. Break the bread. I would erase the chairs. The world's the bands, the bands and band, nice, grateful component k. Get it the way. The boom with a secular. Say, I needed slip on the bromine, the growth, my homies, a safe. I know the city believe in boy, who will try and destroy everything. Everything. Everything. Everything. Yeah. I heard the game is already ready. All right. Let's take and these take of a share of a same channel because they were recorded at the same time. So no need to redo the same thing or if it's already applied, same input. Overthink. What I'm gonna do now is just straight to the ED lips section. Let's work on the lips. Play solo. Yeah. Yeah. Yeah. Yeah. Typical trip at lives. So what I'm going to do now, I'm going to edit parameter q. Yeah. Let's chop it off. 500 Illustrator 500. Yeah. Yeah, yeah. I want to give you the grade you telephone tempo e fit. But here's another way to do it. You can just go to Presets, right-click and hit radio and display. If you bet that if you can adjust it. For example, I wanted to chop off the top end. Let's go. Yeah. Yeah. Yeah. Yeah. Alright. Let me do the same thing to the second one. Do the same thing for this one. I'm going to add a parametric EQ. Let's play. That is the ad lib Shrek. Let's go ahead and add compressing. These Trek, The Iraq's mono. That's true. Yeah. Yeah, that's fine. Let's play what to do from a day once. Let's do it on the second trip, or minus three dB, you got to do what I do from a day once. I M star belonging Myspace now. Took me serious a deme a favor. We own. Elaine is filtering, races, everything. Everything. Everything. Every day. Every day. Nice. Yeah. Everything I press. Anything goes well. Yeah. They move. Everything said everything was done. Like me, I'm such a nuisance. State. Trailing behind me is a useless. No excuses. Don't try to message the process straight at the projects. I did the kids and the blue is everything. Everything. Yeah. Got the whole game. Everything. Everything. Everything. Yeah. I got to do what I do from day one. I am saw belong. Now. We own a veteran of racist. Sounds good to me, That sounds good to me. In the next lecture we're going to start adding creative effect, spicing up the vocal, making it sound exciting. Okay, that's it for this lecture. See you in the next one. 13. Vox - Sends & Reverb Part 1: Welcome back. In this lecture, we're going to start applying creative effects. I'm going to show you how to use your sand reverbs and delays. First things first, let's go to the mixer trip. Let's go ahead and create or Centric. Just going to skip one truck. That assuming I'm going to name it. I just want to show you how to create the sand tricks first. Let's just create one m2. Drag into what a deed acylated an empty room named it reverb. To make it easy visually, I'm gonna hit this separated tool so that it's separated. Then the hook. I got to do what I do for my day once. I M star belonging Myspace now took me serious acidemia favor. What I'm gonna do to create a second. I'm going to select the truck. Send a copy of the signal to this shock. As I'm going to do it. Select the truck. Go to the arrow on this trip. Don't click this. Click this arrow. Focus. Go up to the hint script. Over, over this arrow. What does it say? Enable send. Rahm Mu Hoek laid to reverb. This is how I convert this empty truck to ascend. And left-click sending 100% of the signal to the drip. So when I play, you're gonna duplicate signal. Let's play. I got to do what I do for my day. Once, as soon as the switch in the truck, I got to do what I do for my day once. All right. Now you hearing duplicate signal wearable that Let's just turn down the amount we're sending to this trek. This is where you do it. Reverb. Look at the hint panel while I'm doing it. Telling us how much we're sending to this trip. For now, let's just send 50. Go to the drug. And let's add a fruit to reveal more room. Let's expand the rule. No cut filter. 2291, no end. The vocal reverb Locard. You remember low cut? Cutting from? This is beginner stuff, basic stuff, but I just wanted to explain it again. Low cut, we're cutting from the left side, high count recording from the right side. Let's Play. Let's switch off the High Court for now. Play with the rep with the revamp. I got to do what I do for my day. Once. Let's say more signal. I got to do what I do for MCDA once. I am belonging Myspace now, we didn't need the dry signal on the specific trip, which is the centric. So on this reverb, I'm going to switch off the dry signal. What do you hear? Is this? Got to do what I do for my day. Once we hear the original signal from this booklet, then we hear the reverb signal from this reverb truck. I got to do what I do for my day once. Let's say you were going to use this reverb track only for the steak. We can adjust the amount of reverb here by using the failure. I got to do what I do for my day once. I M star belonging Myspace now. But in most cases you're going to use this one derivative trick on multiple tracks. So we're not going to use the fade, we're going to use the sand parameter. We're going to turn it down, up and down again. Let's first makes up the wet level response, max it out. Now let's send it as an 100% and adjust from there. Let's play. I've got to do what, a day once. Obviously you can hear that's a lot of reverb. Put it back. I got to do what I do for MCDA once, belonged Myspace now. It took me serosa do me a favor. All right. Remember a switched off the high cut, which is cutting from the top end. This reverb sounds way to wash it. To fix that, we're going to remove some of the top end. Let's do that by turning this high cut down. Let's do that. Remember we're cutting from the right. That's why pushing this one to the right, switching off the High Court limit edit parameter EQ to show you what I'm doing, Let's select high cut. Cutting from. This is a high cut which is a lowpass. The same thing from this side. When you push it to all the way up. When a trip and morph into frequencies. Thus the example I wanted to make, Let's go ahead and start chopping off the top end from the reverb. I got to do what I do for MCDA once. I M star belonging Myspace now, took me serious, do me a favor. We are in a lane, the steel to erases everything, you know. Everything you know. Yeah. Got the whole gang right. Let's copy of the value. We just did push it back up again, switching off, the High Court. Got to do what I do for my day once the derivative is we need to wash it, Let's paste. I got to do what I do for MCDA once. I am belonging Myspace now. Now the reverb is in the law means to the top meets the top and is rolled off. That's why it sounds more controlled, sounds more clean. And it sounds, I can say Perfect. Again, this is the perfect revamped. If Nick, I got to do what I do for my day once. I M star belonging Myspace. Now, let's say in a case where your reverb doesn't have a high or low cut. Very simple. You can just add an EQ to the reverb, send and chop off the high-end. Chop off the low end the way you want. Which is basically doing this. Lowpass, sorry, this is the logo. There's a low cut which is a highpass. And this is high, which is a low pass filter. Which is the same thing. I got to do what I do for my day once I M star belonging, you can just use an EQ. Get another crazy thing you can do using Sans. Let's say we have the survey. I got to do what I do for MCDA once. I M star belonging Myspace now, took me to do me a favor right now, the crazy thing you can do to get a more present reverb, you can compress the reverb. Again. Let's go ahead and compress the stereo. You can compress the reverse signature to give it more presence, consistency. I got to do what I do for my day once. I am belonging Myspace now, just a little bit and go too crazy. I got to do what I do for MCDA once. I am belonging Myspace now, let's say minus 40. I got to do what I do for my day. 11 dB. I got to do what I do for MCDA once. I am 60 release. Let's make it 70. That's fine. I got to do what I do for my day once. I M star belonging Myspace now switch off the compressor. I got to do what I do for MCDA. Once. I got to do what I do for my day, once, it makes a bit of a difference. But you can always play around with the two k. The whole purpose of trying to explain these things, I want you to think creatively when mixing. Obviously you have to make the song sound good, but you have to think creatively when you mix them. For example, this center can be a delay. On that delay you can try and maybe at the institution. What is delaying? Maybe on the second feedback, repeat, throwing the distortion with the automation. Things like that. That's what separate a basic mixing and advanced mixing. That's creativity. Great. Already have a reverb track. Let's adjust the river. Let's play. I got to do what I do for my day. Once. A similar verb, straight 30%. I got to do what I do for MCDA once. I am a star belonging Myspace now took me serious a deme. The great thing about reverbs is to add more depth. It makes the vocal so most surround sound more present in the TREC. Compared to this. I got to do what I do for my day once, listened to it. I got to do what I do for my day once with the reverb, it sounds more present. I got to do. And it sounds like it's taking up more space. Let's play with a bit. I got to do what to do from a day once saw belonging Myspace, now, there is a di me a favor. We own Elaine. Racist. Everything, not everything. Yeah. Yeah. All right. Go ahead and adjust second parameter, room, that reverb, which is the decay. What is the D key? That is more like the sustained release, the amount of time it takes for the reverb to go. For example, a crazy long decay time. That's play. I got to do what I do for that is a super long decay time. Super-fast decay time is, I got to do what to do for super-fast. Get to two seconds. Got to do what I do for MCDA once. I am belonging Myspace now took me serious acidemia favor. That's the TK. Everything I know. That sounds good to me. Okay. Let's play it with the trip I got to do what I do for my day was, right, I'm going to copy the value which is 30% sent to let reverb and do the same thing with the hook support section. I'm gonna right click. Sorry, I'm going to, I'm just going to left-click on it and paste that value. I got to do what I do for my day was I M star belong and Myspace now took me seriously. Do me a favor. We own Elaine, state-run erases, everything. Everything. Everything. Everything. Everything. Everything nice. Yeah. Everything I press by. Anything goes. Yeah, yeah. Right. Let's do the same thing to the verse. Let's do the same thing into this truck. Please value yeah, every day and everything nice. Yeah. Yeah. Everything to press. Anything goes yeah. Yeah. They get everything said. Everything. Everything was no. Like me. See what I did. Ascent all the vocal trucks to the reverb. The same amount are available sent. I can then adjust from that based on how the section sound. Every day. Every day, nice. Yeah. Yeah. Everything I press anything goes well. Yeah. They move. Everything said everything through. Rebels don't like me. I'm such a new state. Trailing behind me is a useless uses to try to mess with the process straight at the projects. I gave the kids everyday know, everything. Got the whole gang, everything. Everything. Everything. Yeah. Yeah. I gotta do what I do for my day. I am a star belonging must display it from the beginning. I think we can get away with more reverb on the intrude more rib. Five. I got to do what I do for my day was I am saw belonging Myspace now. There is a di me a favor. We own Elaine stuttering erases everything everyday. Everyday. Everyday. Everyday. Everyday. Pressure, verb buy, anything goes. Yeah. Everything said. Everything was done like me, I'm such a new state, trailing behind me. More reverb to those libs. Explain again. I was trailing behind me. Is a user uses to try to mess with the process straight at the projects. I did the kids everyday know, everything. Got the whole gang, everything. Everything. Yeah. Kinda got to do what I do for my day was I M star belonging, misplaced Now. Mrsa do me a favor. State-owned a racist. For me, the cake, the cake awake and bake the bread a break and I stayed the same, the ribosome relative fill and more available new dad can go read the Bradley. I would have raised the chairs to browse the best grades and vandalism. Grateful communicate the weight room with a secular age. What you say, I needed to form and grow and grow my homies a safe and honestly believe in voice. We will try and destroy everything. We know. Everything. Everything. Everything. Yeah. Yes. I heard the KMZ dirty. That's how you use and creates an flux in FL Studio. I'm going to expand on the Creative section. This one was more like an intro, thinking outside of the box way because I want you to think outside of the box when mixing, be creative, especially when it comes to using, since you can do so much with it together. And that's it for this lecture. See you in the next one. 14. Vox Sends, Reverb & Delay Part 2: Welcome back. In this lecture, we're going to continue with the creative effects section. Already added a reverb effect to this. Using the fruit to revamp stoke plugging. Okay. But in my mixes are always use a third party plugin when it comes to ru verbs. So let's switch this one off. I'm going to add our reverb plugin by waves. This is the plug-in. All right, Let's just focus on hook section. I just did a verb to our like you got to do what I do for my day once. Right. Let's send more signal just to hear the sit-ins. Okay, I got to do what I do for my day once. Alright, I like to use the plate type for my vocals. Okay, That's gotta do what I do for my day once. I M star belonging Myspace now, I'm gonna leave the decay has linear size Hundred percent, the size. I'm just going to adjust it to just to 80%. I M star belonging Myspace now, some of the low to something like 5016. Let's play. I got to do what I do from a day once I M star belonging Myspace now, I don't want to go crazy with the Locard. Something around I think something around 200, that's fine. I got to do what I do for my day once. I don't want low end of my reverb, I just want the low meets. Okay. I got to do what I do for my day once. I M star belonging Myspace now, do me a favor, right, let's chop off more of the top end sounds. Display. I got to do what I do for my day once. I M star belonging Myspace now, let me add an EQ. I got to do what to do from a day once. As you can see there still some top end frequencies getting away. So what I'm gonna do, I'm gonna use this EQ to make sure the head on getaway, lowpass. Got to do what I do for my day once. I am belonging Myspace now. Took me serious a deme a favor. We are still trying turn erases everything. Alright, let's do the same thing with the I don't know, Maybe I'm just trying to make sure that this is an amount of reverb I'm getting I got to do what I do for my day once. I M star belonging Myspace now, took me serious a deme, a favor. We are in a lane, they still turn a racist. Alright? The EQ gives me way more control that the EQ on the reverb plugin, I got to do what I do for my day once. I M star belonging Myspace now, do me a favor. That sounds much better. Lawyer and I got to do what I do for my day once. I M star belonging Myspace now, let's go ahead and turn it down. But to the stripe 30, I got to do what I do for my day. Once. I got to do what I do for my day, once I am a Star Trek, got to do what I do for my day was I am saw belonging, Myspace now. Took me serious academia favor. We own Elaine, state-run erases, everything. Everything. Everything. Everything. Everything. Yeah. Everything nice. Yeah. Yeah. Everything you press. Anything goes everything. Everything. Alright. Let's go ahead and do the intro. Think it was some dope with a delay effect. So let's go ahead and create another centric and hit delay. Grant. I don't know why, but let's just make it great. Let's add a delay effect. Um, let's use the fruit to delay tree. Signal to it. Remember select the truck we went to send enables sent by left clicking on the arrow. That is a super first delay, I guess. 10, 10% to four. Oh, that's way too much feedback. This is the feedback section. Let's turn it down. Like that. Wouldn't need the signal on this track. Let's switch it off. Just a centric. Let's play with the trick. Now, my city gang student in the amount of sand, do sudo, yum. That sounds good. Got to do what I do for my day was younger my space now, do me a favor. Let's create another set of Shrek. The main takes. Let's go ahead to the mixer trick. Delay. Go ahead. Boom. I got to do what to do from a day once sent to this journal. Enable it. I got to do what I do for my day once. Let's go ahead and add a delay. We're going to use the h delay, which is waves. On a drop of the plugin is Sunnah insite the plugin. You can hear there's some swiped noise. The analog type of effect. That means this analog knob is on, switch it off, it's gone. Okay, Let's set the delay to quote a delay on to four. Let's didn't own through feedback just to open it, set it to 20. Let's play. I got it. I want to do on a day what took me seriously? I guess the delay is going to work, but let's make some adjustments. Let's do a highpass filter, which is a chopping off the low end. I got it. I want to do on a day, what do you want to do? A low-pass which is chopping off the top end. Got it. Do you want to do one a day was kind of filtering the delayed signal. I got to do what to do with my day was one star belonging must nice. Now, I took me serious a deme and fame. I got to do what I do in my day was I got to do what to do from a day to first delete. I got to do what I do from a day once a day, once a bit. I gotta do what I do from a day once saw a belonging Myspace now took me, took me like this one. Just turn down the feedback. I got to do. What day was belonging Myspace now, took me to do me a favor. Alright, let's add more reverb. Moreover. Got to do what I do from a day once belonged Myspace. Now, I got to do what I do from a day once a day. Can you hear the reverb? Got to do what I do from a day once a space, space. Now, let's turn down the amount of D a lay it down to 20. I got to do what I do for my day was longer Myspace. Now, let's try 25. Got to do what I do for my day was I don't want you to hear it, but I just wanted to add and beefy lie in-between this basis. Okay. I gotta do what I do for my day once. I am a star belonging Myspace now, took me serious a deme a favor. We own Elaine dystocia and erases everything. Everything. Everything. Everything. Yeah. Let's do the same thing over here. Send to this delay spaced. I got to do what I do for my day was I am saw belonging Myspace now. Took me seriously. Do me a favor. We own Elaine, distention of racist. Everything, everything, everything, everything, everything nice. Press, anything goes. Alright, let's see if the delay setting will work for these V's. Let's plug everything in. Nice. Good, I forget to save. Don't forget to save. Don't forget to save a way. Done. Everything nice. Press everything fresh, anything. I want the tip of delay, everything nice, everything. Anyway. I think the half delay will do. Okay, let's, let's try it and hear it every day. Nice. That's sort of everyday. Nice. Yeah. Yeah. Let's send everything nice. Yeah. Yeah. Every tear fresh. This half delay is going to work. Let's just turn it down to ten. Everything nice. Yeah. Yeah. Every day a fresh eye, anything goes yeah. Yeah. Pay me was still everything said. Every team through a squad goes. Everything. Blue. Rebels don't like me. I'm such a nuisance. They trailing behind me. The head is a useless Yeah. Let's do 50 per cent. Every day. Nice. Yeah. Yeah, every tear fresh. See it with the music. Everything nice. Yeah. Yeah. Everything I've pressed by, anything goes yeah. Everything said In everything through everything go. Rebels don't like me. I'm such a nuisance. Thank trailing behind thing. We're going to add more. Let's do 20 yeah. Everything nice. Yeah. Yeah. Every time you press anything goes. Yeah. Everything said. Everything was done. Like me, I'm such a nuisance. Trailing behind me is a useless. Make no excuses. Don't try to mess up the process straight at the rebels don't represent represent. Don't like me. I'm such a trailing behind me is a useless don't like me. Just wanted to mark something I want to do here. I know what that means. Just a reminder for me. Okay. I'm going to split prep was don't like me. I'm such a new state, trailing behind, unlike how the delay sounds, let's hear that the same half delay will work on this piece. Communicate the KDC awake and bake the bread a break and come into cake. The cake awake and bake bread a break. Stay the same. The real unreal to fill and never faked it. Whom you did them deadly. It works. Communicate the cake awake and bake the bread a break and I stayed the same. The random real the fill and whom you did more or less do Twenty-five percent. Twenty-five percent. Communicate the cake awake and bake the bread a break. I'll stay the same. The random relative whom you did see it on this one, but I'm pretty sure it's the same note with the first game is already visible, aim ready? And if you feel like the reverb is way too low for you, you can pump it up. It's up to you. No rules. Make it sound good, but be creative with the men, be creative with it. And that is how you use your delay sense. And that's it for this lecture. Guys. See you in the next one. 15. Vox Stutter FX & Automation: Welcome back. In this lecture, we're going to add more creative effects. Let's go straight to the first verse. Me. Everything. I wanted to add a star to you. That's why I left this mark over here. That was done like me. Everything was done like me. This is more of a creative process, that technique of a boat to apply. Now, it can add some excitement to the listener. Okay? So I'm gonna make that represented something like group regret by the sunblock that somebody better. Remember. Don't like me. Something like that. Remember is don't like me. I'm gonna make it unique that whatever just means, a make on the red pie doesn't affect the originality. So I'm just going to turn down the volume just a little bit. Let's just automated automation. Create automation clip. What I'm going to do over here. First, I want to copy it. These, just right-click over here. Create another node over here. Paste the value, the default value which is centered. Let's bring it to the left. That's all you pin it. Let's see if that sounds good. If it doesn't, we'll remove it. Remembers don't like me. The split from everyday. Everyday, nice. Yeah. Yeah. Every see a press. Anything goes. Everything said. Everything. Everything was done like me. I like it, but I think it's way far to the left. So let's bring it back. Bring it back, bring it back the volume. Make sure that you click and make this clip unique. But it doesn't. This one. Remember is don't like me. Like me like that. I was such a new state. Trailing behind me is a useless. Real quick what I'm going to do, I'm going to automate this ad lib. Okay? I gotta do what I do for my day was I am saw belonging Myspace now. Took me serious edema me a favor. We own Elaine. This alternate racist image starting from here. This is the clip. What I'm going to do, I'm going to hit record. Notes, automation. Let's go. Everything. Everything. Everything. Everything. Everything nice. Yeah. Everything I've pressed by anything goes everything. Everything through. Remember is don't like me. I'm such a nuisance. Trailing behind me is a useless to try to miss it. The process straight into the project. I did. All I did was record notes and automation and adjust played around with the pending while the song is playing. And then Fruit Loops records that intuitive. Okay, let's play in looking at it. Every day, not every day. Every day, nice. Yeah, Every see oppressed by anything goes everything. This is to add some excitement and fun to your mixes. Again, you can go ahead and do that with the rest of the bigs, wherever you see fits. Okay, that's it for this lecture. See you in the next one. 16. Vox Parallel Compression: Welcome back. In this lecture, we'll go to add more energy to the vocal. So let's select this book over here. Let's change the magnet line. This hook. Everything. I'm saying. Yeah, got the whole gang. Everything. Right now. We're going to start using parallel compression. I'm pretty sure you are already familiar with the concept already. So parallel compression, it's where we take the original signal who created a duplicate. And then we'll mess around with the duplicates signal and mix that overcome pressed or distorted signal with the original signal, that is parallel compression. The purpose of it is to add more energy in some cases, in some cases just for creative flavor. Let's go ahead and play the whole game. Everything. I'm only going to apply parallel compression to this hook and this truck. I don't see the need to eat and the versus, But if you do, please do that, That's how I want you to think about mixing. That's how want you to think about this course also when you download the project, you just do what feels right. Also, also trust your own judgment. And remember the project is to, is for you to just practice, practice, practice, practice, and develop your own style. Let's go ahead and create a copy of the signal. Every day. I'm going to take an empty truck, say para Lao. It a duck, duck color. I want to move other trip right next to my hook. That will be Command on the Mac, alt on PC, which is what I'm using at the moment, an arrow to the left, you hold the Alt or command and use the arrows to move it left and right. Wanted to be right next to my hopefully lead. Display. Everything. Everything. Everything. Everything. Everything. Everything. Yeah. So what I'm going to do, I'm going to select the whole clade. Right-click on the parallel truck arrow side chain to the stroke. I'm going to go to the parallel track. Look for an effect cold food to send. Discerned, open the plugin, send to my bed, will go back to the new whole clade. It code fruit to send. And we say copy of this signal to the parallel combo box. Why at that new hook laid side chain to this track? That is to make sure that my fruit tea send plug-in picks up the truck on the browser. That's why a side-chain it to this truck. The whole purpose of that, I'm going to say send two parallel comp, plan everything. Now there is a copy of that signal. I can mute this one. Let's play everything, you know, everything you know, the whole game. So what I'm going to do over here, I'm going to add a parameter EQ highpass filter. Everything, you know, everything you know. Compressor, compressor. I'm gonna say the compress to ten. I'm going to do heavy, very heavy compression. To turn out really super fast. Something like 30. Squash this photo, everything, you know, everything, you know, the whole game. Yeah. Everything. Yeah. Everything, you know, everything, you know. Everything in Group. Got to do what I do for my day once I M star belonging, MySpace, took me seriously, do me a favor. Don't need to be a genius. You can hear that this focal is messed up, It's over compressed. What I'm going to do now I'm going to turn down this level over compressed signal. Switch on the clean one. Everything. Everything. Got the whole gang. Focus. Listen carefully. I'm going to mix in the over compressed signal with the clean signal. Let's see it. Every day. No, no, no. Yeah, got the whole gang. Everything crew down. Everything, you know, everything. Every ten no. Mix it in heavy chain. No. No. No. Yeah. Got the whole game. Yeah. Everything. Everything. Everything, you know, everything. No. You couldn't hear it. Every time, you know, Let's go crazy. Every time, you know, everything, you know, everything. Yeah. Got the whole game. Yeah. Everything. Everything. Yeah. Every time, you know. Yeah. Every time, you know. Yeah. I got a new block. You don't have to go crazy with the Overcome press one when it comes to mixing it in with the lead one that one is a lead is the clean one is the well-mixed one. It's fine as is, but you just mix this one in just a little bit to give it more credit, more attacks so that it slips Mo. That's the whole purpose of parallel compression. You can do other things with parallel compression. Basically, it's just the process of duplicating the signal, manipulating that signal, and mixing it in with the clean signal just to add some topo effect. In this case, add more energy and more grit to the whole. So I'm gonna switch off the duplicate signal and play with the music. Everything, you know, everything. Got the whole game. Yeah, everything cool. I didn't know what the over compressed everything. Everything. Got the whole game. Everything cool. Without everything? Everything. Everything? Yeah. Got the whole game. Everything. Everything. Yeah. Yeah. I don't know if I'm superstitious or what, but I can hear the difference. And that is the whole purpose of compression. If you listen to the west and feel like we can apply the same technique, do that, do that. And that is how you use parallel compression. You can use it in your drums, like you saw in the drums mixing section. It's a really dope, if really dope, advanced technique. And that's it for this lecture. This is the last lecture and the next one. I'm just going to show you the settings to export your mixed out. In the next lecture. 17. Final Touches & Export: Welcome back. In this final lecture, we're going to export that mixdown. What are you going to do now? We are going to play the trick from the beginning to the end, just to adjust the levels and export. We're done. Let's play what I'm playing it, be adjusting the volume. So I got to do what I do for my day was I am longer Myspace now. Do me a favor. We own Elaine. This natural erases everything. Everything. Everything. Everything nice. Yeah. Everything you press. Anything goes yeah. Yeah. Yeah. Everything. Remember is don't like me. I was trailing behind me is a useless. Remember is don't like me. I think we can remember these. Don't like me. Like that. Anything goes yeah. Everything for me. I'm such a trailing behind me is a useless. Don't try to mess with the proceedings straight into the project. I gave it everything. Everything. Everything. Everything, you know. Yeah. Yeah. I gotta do what I do from day one. I am belonging Myspace now. Do me a favor. Alternate racist. Communicate the KDC away to bake the bread a break, stay the same. The real relative whom you did break the bread, I'm wondering, whereas the base band the way. Secondly, what do you say? This is the final step is just to make sure everything sounds on point. There is no very loud part and then a very quiet, but just to make sure that mixes balanced when it comes to levels. And if you're happy with the mix, you can go ahead to the next step, which is checking for headroom, making sure that your mixes not clipping, but it's very important that you monitor your most eternal while you are mixing. But this is the final step, so we want to check the levels. And I do for my day was younger my space now. Look for the loudest part. Yeah. Everything nice. Yeah. Yeah. Anything else? Yeah. Everything. Everything around minus seven, minus five, minus six. That's enough headroom for the mastering engineer or for the mastering stage. That is enough headroom to add effects, lift the mix at energy. But it's very inputting that when you are mixing your live headroom for the mastering stage. Everything nice. Note that I'm happy with the level of the mix. Everything in nice. Yeah, everybody oppressed by anything goes, yeah, yeah. I'm gonna go ahead and crop. Leave some room over here. Highlighted over there. Great. Make sure you save the progress. My process before even get to mastering. If I'm happy with the mixdown, I'm going to test it. Maybe you want earphones on a lip, on laptop speakers, hi fi wherever playbook sources you have and just hear that the mix sounds good. On most platforms, maybe they use a vocal that you need to push back a little bit when it comes to volume. Maybe there's something that you need to bring up before you even go to mastering. Because when we were mastering, if the last stage we're just working with one wave mixed down. This is your chance to improve your mix by testing it on different teams. You've just make sure you go through that process and then go to the mastering stage when you are happy with the mixdown because what's the point of sending a bed or a mixed? You are not sure and help you with that to the mixing stage. What's the point? Because you got to make sure that in the mastering stage you are missouri, you're not fixing anything. You are mastering so that you get the best result possible. Right now, we're going to export the mixdown. And then we're done. I want to go to File export, wav. Mixed. Good. Selection, cut remainder. Make sure Split mixer trip is not selected because we are not exporting stems. Who exporting the whole mix. Workers with temporal information. So if tempo information, it's not a must do that, but I always do that. Enable instead effects and even muster. When it comes to resembling, you can use average quantity if your PC performance is not that, but if you're confident with your PC performance, I will recommend you use the high-quality resampling possible. You can get away with 64. But I'm confident width my PC performance. So I'm gonna go ahead and sit at the highest risk sampling rate, which is 512, sink stat. You're done with the mixing stage and that seat for the course. Thank you very much for enrolling, but please make sure you practice what you learn from the course. Go back to it, rewatch it over and over and over again, and always practice what you learn. There is no point in watching a bunch of courses, but not practice. Even if you have to record people for free, just to practice your mixing skills to that man, that man, eventually it will pay off. That's it for this course. My name is survey bit, September. Thank you very much. 18. Final Words, Thank You: Hey, we're finally done. But always remember to practice what you learn. You can get better at anything if you are willing to take action and consistently practice. Thank you. Thank you very much for enrolling and cheese to better mixes.