Transcripts
1. Intro: Hi, The wonders are like this. Then this class is
for you to reggae music workplace or your
imply x marks on PC games. I decided to give away my
music production sequence. Those who wish to sound professional and avoid
Varela melodies, muddy mixes, white masters, old rag down my song nowadays. And they give you a
step-by-step process of all you can reach a
similar level of sound. We'll do a deep
look into combos in Robitussin, mixing
and mastering. So you've got to learn
the secrets on obliged to your truck warranty you that this class will change some of the ways
you produce music. That sounds good for
you. Let's get started.
2. Composing Your Track: Welcome guys to the
Cyberpunk masterclass. Joel, legalistic
words of sharp bone, easy for jumper right ahead into the production side,
the production stage. A real love to write the music first two,
what do I mean by that? For me, the composition is the most important
part of the song. Can position or
songwriting depending on how you want to college. About, can boast. Reading sun will always be a bad produced mixed, a master shot. That is what I'm
talking about here. The composition side is the most important part of the song. That's what we're going
to do right here. There's your fault. Have
a musical reference or multiple musical reference. In this case, I really
encourage you to have a playlist of cyber punk music. The second thing, open a blank project with
just a piano. That's it. Start with a blank project when you start
writing your music. So what did I did here? Let's listen to this. So as you can see, that is the most important
part of the track. And you will, they're in
the prediction stage wise. So how did I did this? Setup the brakes
around 80 to 110 dBm, this case a birthday
song in 86 BPM. So do I start writing? You can ride in
different things. Sometimes I have
as Melody my head, and I just put it into him
here by just thinking. So e.g. that I wanted
to grade something like June to go into daunted during the
during the duodenum, doing, don't recall in my brain. Your neurons are
doing in this case, as you can see, the VPN can change depending on
what you want to emit. This case, I'm going to put it a little bit like 100, maybe. Enjoying the job to job. That's how I write it. So that's basically how
you would write it. This is the most
important part of the song and you all are
in the production stage. Why? But yeah, that's basically that's your baseline
right there. Then after dotted, you can add a little bit more stuff like as you can continue the trial, just like that is very simple. You can also use this gales. I personally did not. Going to explain you super carefully how
I do use his guilt because I do not I'm not
used to use a lot of scales, but if you want, you can
be guided by a scale. So e.g. there's a new
start writing, right? So that's basically,
that's how you write it. The next stage, which is
the production stage, jewelry and why this is the most crucial step
in the whole process. And you will learn
a lot of marketing. So see you in the next stage.
3. Producing Your Drums: Now that we have the
core truck written, because burdensome
good thing off the production stage as the
luxury stage, you start, beginning sounds that match with the references or what we
watch you have in your head. That's why their composition
is the most important part, was your playlist of all
the music you want to have. Once you have the music
written, I'll do have to do it. Just search sounds,
put them together, and that's it. So e.g. you remember the first stage? We basically this now e.g. I'll do you have to
do is copy this? Maybe with other harmonies, which are these ones, right? You copy this and put
them into a base. In this case is this. So we're going to see is
the same as you can see. That is the thing
that you have to do. Now. You have
basically your song, read and write and
record tribe is when. So now you have to have, not, what you have to do is to layer this sounds are symbols, daddy. So before going to the base, I went to LA, I love to first
go into the drums first. So these are the
drawings that I made. As you're gonna
see, super simple, but also has a lot of layers. So what did I, why did I beat? So burst node is to
start with the kick. A layered a kid like four times. Why did I leave
that on? Weiss die? On how to do that, right? I first started with this one, with a main one,
which is this one. Let's put these together
into a new butter. I started with this one. As you can see, it does a
very good just like that. But if you have headphones, you understand what ya, but it really has here. Without any mixing. This sounds like this. Very cold cake. Very
tense, very good. The brown with that,
is that a one in something that has a little
bit more of low-end, my low into a little bit
more base your right, a little bit more
punchy in the lows. So what I did was to
add these beautiful EQ, I could sound fragrances
that I thought they weren't necessary or brilliant much not relevant to what I wanted. The lowest two. And that's how
basically they did it. This is the first
thing that I did. Now for the second case,
we have different gifts. So my wondering this
necessary radius, necessary drugs, so many
layers into just a cake? The answer is, it depends. It depends on your
production style. This is not technically
correct or not correct. This is where the creative
process kicks in, right? So as long as your
kicks sounds very good, Everything is good
in this gig, e.g. I. It's part of the yard. But as you can see, it doesn't
have the lowest either. Without any mixing. This is how it sounds. Alright? As it goes, if this is
something very minimal, and this is the main one, this is layer good one. This is the kick, this sub cake. What he loved the goal. If you listen to headphones and if you see this spectrum here, it's pretty much at the love. Without this. This
is how it sounds. Doesn't good, but
it lacks body lags. That bunching is in the vowels, and I really love
how this sound. I also add a second layer
of the third layer of cake that I call the second texture gig,
which is this one. It sounds like a little
bit of acoustic. I wanted to give like that
texture to my drums. So e.g. in this case, this is like, it sounds like natural
key from a drunk cake. Without the mixing,
this is how it sounds. We're mixing these sounds. So as you can see, a vase, that's, that's basically
how you layer cakes. Now, the other part, this is the cytidine. If you are producing before, then you need to have
been purchasing before. I did not I do not. Wood layers into the side chain. So it just this the main cake, the main gig Dibble gated and brought it
into a sighted child. Child is to put a free limb or go to the you're going
to have it like that. The big compression
part, cytidine, Woodside giant, aunt, lower
the threshold, lowered. The nice if you want
to put it right here, like this, like
this, do help us. H. Now this nerve, everybody complains about this narrative
in electronic music. How do I get my nerdiest
sound very good. With the answer, might depend. So I have a woman who's
now on several layers of a sinner is the main star. This is how it sounds
with other mixing. This is how it sounds with
the meeting without width. So as you can see, it's very
differential rights and with less body, less laws. And it turns out
a little bit more brighter than num brighter. I did put a little
bit of try and shins processor in this. The nurse sounds
very sharp, right? But with less sharp, right? So it's less punchy. Know that first layer of
this narrow is my very, very, very soluble regressions. I just put their full volume. You can notice it. But it's very subtle. Some of the very
solid color layer. The way that I did,
this was the same. I just put it. I wanted something
doesn't hurt to have like a melodic tone. This case, I just pulled the things that
complemented this nerve is that of adding more aroma
noise to this nerve. So that's the main thing is
I was done with the bags. This is how it sounds.
Without any effects. One begs off. The axon, looks off the Gaussian, just the same roman that we're working with
cyber punk style. So this sounds like a
big change or something recently introduced to
these hi-hat sound. Very unique. I duplicate it. So it sounds like a normal high. It's very but a double gated. This narrative. Hi, hi. So now it says leg a little bit
more like flog are solving. So it's like a little bit
more organic or something. So that's basically
how I do the drums. In the bar chart of
the prediction stage. You're going to learn how
to make the base and got really UC saga bunk
base. So yeah. See you in the next part.
4. Producing Your Extreme Basslines: Now finally, how to make
strings over bunk baselines. Let's get right into
it. This is one I did. In the first part. You have to add the
main composition first. And this is why you will learn that is the most important
part of the whole track. So what I did was after you did the composition
part, which is this one, I copy a baseline and bought it being to
an actual baseline. So e.g. there's
there with this one. I based it and that's
all I have to do. The boot anymore nodes on
the boot and new nodes. And I just have to copy and paste what evading
the composition part. This case, this isn't the same thing and
this is how it sounds. That isn't first layer. Some people have asked me, how do you have different
layers for the base. Others that possible. Is that possible? How did you prevent? Today we're going to
have facing issues. Facing issues is when
two sounds collide and they sound mono or some
of the light die, right? So, so what I did, and the key here to
do with layering different elements into our
sun or just on the base. But what a song completes
on these to make them. So I talked about before about going through
it step-by-step first, you can pose and then
you produce a video mix, and then you muster. But I really love to mix
when I'm processing so I can have more space
for layering. So in this case, the
main base, right? This is how it sounds
without any effects. As you can see, it
covers a lot of the frequency
spectrum of the song. That it's a little bit bad. Why? Because when
we are layering, what we have to do is to cover different parts of the spectrum. So e.g. the more salvage it covers more of the
spectrum of the track, the more difficult
it is to layer it. So in this case, this is the base
without any effects. And as you can see, the
main thing that I did, it was just an
equalizer without, with effects. So when that affects
only the equalizer, you will notice that
I took out the lows. It's put it here.
So as you can see, that is very important. We're laying base
is very important to the laws of every base. And said This Sundays. And instead of some basis that you want to
have in this part, which is the bass part, right? Roman, that is subways
and then base. So the best way to layer
new firm basis is to have different kind of
textures in this part. In this other part, the low mids to the almost
troubled, that's basically it. Now, this is something
that I wanted to mention in the
process of mixing. A really cool thing that I
love to do in the bass part is to have a grip or Java main
channel of all the basis. So as you can see, this one is linked to this
channel called basis. Right? After that long
introduction on how to layer, you simply just layer more
sounds without any fix. This, how would I EQ
it just needed this. Next comes this one. As you can see, I didn't, couldn't these base part, right? So then this one, this one I did add some
effects like LGBT. Let's hear how it sounds
without any effects. Purple, purple, purple,
purple, purple. So as you can see in this work, some of these Bard's
main thing is to, the main thing in
production is to select really cool sounds,
layer stuff, right? The mixing stage, which is something that we're kind of mixing with the
production stage. Making those sounds sound
very good together. Without any effects,
it sounds very moody. And that's when I realized. So I just wanted that
tinting, dinging, purple, purple, that cool transient right there. I just
want him that. So how did I do that? First, I EQ, go the basis on the basis at 0 T, T 100%. You can see it adds a
little bit of noise to which I really
like our segment AQ. This guys, what you
can do is they may view if surgeon frequencies, whether you, you can
simply give them a little bit like that. So I just come in as a vesicle it almost the last
layer of this base. So you can see without
effects where the facts, the main thing is just
digging out frequencies. The last base layer or
less than this butter, because we have a little bit
more base layers later on. Is this Josie Ghazi, you don't have the layer everything sometimes
years layering, use one sound, just
certainly notes. Just to add a little bit
of emphasis to the base. Base is added sound
without any effects. Sounds with the equalizer. That's how I did
it mean baseline. So after a VDS, what I love to do is to render this baseline,
then chop it. Let me explain what I mean.
If we're explaining how I did these baseline how this whole baseline came to be in the mixed group
that I told you, you select everything, e.g. every single layer of maize, it is here, right? This case aren't this one
until it, there's one. There's one, there's one.
All of them are in the base. The base is child. So what did I did here? Let's activate effects.
Let's go through them. So first you have another
Kenyans you just in case. Then I added one transpire. Inside the base of the sound, the sound of the bass
or the solid to be more punchy than I,
the air compressor. And then another EQ. So as you can see right now, the bass sounds much more, less, so they're less moody. Why is that? Remember
that we're mixing. So we'll have other
Keq with a sub gig, with a lot of other layers. This spectrum right
here is very important. If your cerebellum references, I really encourage
you to buy a song, maybe on Bandcamp or, or in some other
places that sell music digitally and put them
into Sunday spectrum, just like spam. And
be guided by that. So e.g. I. Can blow the musical reference that I had for this drug in particular. But let me play the final. So this is the final
brewmaster. I live. You notice a lot of the
trace on fungi are bunk, can be very similar in to hold this frequency spectrum
is shape it, the shape. Traverse humbling,
this case, this song. It looks like this, right? And you're going to love
this for free by the way. It looks like this. So on my reference frog, it also look like this, like this kind of Montana right ear, their
right here. I'm not aware. But it's like that's the main
visual of how you can guide yourself by while
your references from your playlist buddy
here into the truck. And then they analyzed the frequency spectrum
right over here. This call then makes
your drug and bad ways. So e.g. you're going
to see basis very similar to what I'm
reaching this case. It was rated but
understand the point. So that's how I did it even more of elements here
in the bass part, of course decided giant loop. Now for making the base a
little bit more interesting, what I did was this
render debase their dad. You can literally just chop it, but any part of the
base like this, until you get
something like this. As you can see, it's
much more interesting. So that's how I do the
trick for the base. After those bases, I actually
added some more layers. I added this layer,
which is this one. There's one, there's one other browsers. You go on and on and none. That's how you layer basis and that's how you
made your basis. So hope you enjoyed
the next part. We're going to focus on how to make the track a little
bit more atmospheric. So far, this is what we have. Well, the basis that explain
to you how to do it. The other moral layer
basis, baselines, bond. Lastly, but not least,
everything, That's it. I also added another
layer or this nerve. And there's little
snares as well. So it's a bar. We have the
dramas where the base, this is how it sounds with
what we have learned so far. The next part, I will
explain you how to make atmospheres on how to make the track sounds even righter than what we have
right now. See you there.
5. Producing Synths and New Sections Of Your Track: So last week where we did
was to make the bass drums. And this is what we have so far. No, the beginning of this class, I promise you that I
will give you the secret also to make several music, even if you don't have light
go super high-performing BC. Which is the reason why you see so many arrangement on all that. So many is dove in
here, out of place. I'm going to show you that in the process that
we're going through. But in the meantime, and
that is what we have so far for the sins
and atmospheres. I'll like to Buddhist off. And by the way, this is not
a solid assigning glass. I believe recommend you
to have to do Laude, summer bonk sound effects. And all the sudden
it begs, but I'll just talk about Banca resets, whether it's for
serum or for Flex. The red cool. So let's start
with them first. Atmosphere. This is how it sounds like just a bad on dose. The route node would
it all over here. So lets it is before mixing it. This is after mixing it. As you can see, just
below seven progresses. Next, we're going to
go for their sins and to ambient or
atmospheric sounds. Really good in cyber punk. Because remember
that the base was actually the thing that we need. He took us but most of the time. So to complement that and to
make the drug salt fuller, we have to add elements, elements that are less
powerful or punching. So we have that once it comes
in these beautiful synth, as you can see, it's very cool. Have you see, you know, I'm not adding any other
nodes to these drug. The note we're already made
where basically he was filling this base to make
this song a little bit more fuller ride in the whole portions of music
production and mixing. The key here is to make
this song, song Fuller. Fuller as possible, right? And what I mean, fuller, it can the bend of the song, you can the bend of your vision. You can have benefited Jarrod. But in general, I
mean, that it has to be something
like hole, right? Again, it's all just
like everything hobby, like like these e.g. a. Good, a lot of brokers
inspiration for that example. But it cannot sell like that. He has to sell an
S4 as possible. Of course, respecting
the dynamic frequency or did dynamic image, however, these dark
cold, all the Jarrah. So e.g. trying music, you already saw it with his band in the previous sections. And with this one
is the same, right? So a fuller as possible. But don't over saturated. The gears to have a main theme. Always be the focus. So e.g. when we compose it a try when we brought it first,
the main thing, the main thing that
is still remaining as the main focus is the base. So by focusing on that specific way and making everything so as
full as possible. Around the base. We have
a really great summer one drug that is for
debt ambiance is about, as you can see, it's super
simple, use OneNote. But it really adds, the truck really
makes the drug a little bit more
dense or mark tense even as you're going to see against the Lego
sensation or moreover atmosphere of sci-fi
futurism, etc. This is how it sounds without
any buds or ambiance. Again, sounds good,
but if you want to add a little bit
more over onions, I really recommend to
have different elements, different scents and
different audiences. So next is the question, why they strike
looks so Grayson. And this is the secret that I'm going to give you
and share with you. If you have your video, if you don't have a powerful BZ. So in this, in this song, I privileged mated with, with an old laptop. You can see the two
here on the screen. And unfortunately the lab tub. Fortunately, it was
like very cool to have a lab to lasted so long, to have an optimized
for the best. Unfortunately, the
laptop wasn't able to kind of handle a lot
of sounds in a velocity. What's the normal lab tube, like a university laptop. It wasn't a mag group. You just I still love the way. It is another bad and good. But the latter wasn't enough. You know, she could
have run this e.g. this one I'm going to play,
going to run it, right? So I have to export several times this song in a
different section of the sun. Here, Shari needed
alliterate and justice supported this Boyd
internal arrangement. As you can see, curious. The biggest thing. So let's
see what we have here. You have these little songs. I live in more basis, more layers to that baseline. Again, this is the main thing
of the firebombed music. Unless somebody's, if
you have headphones, you can listen to them. And this gives us just like
a sine wave, the sub bass. As you can see, you see
the way that we mixed. We literally give a lot
of space to the sub base. Remember that we have a sub
cake and the cake that have, that covers the
base frequencies. And same with the sub bass, in this case it's subways. So bias is going to cover just
the sub bass frequencies. So frequencies. What a sighted child, remember two sided Chen
in every single element. Here's a fact. This
is another thing I can really over-explain. Something that I haven't
told you yet is that I use one channel
border rumored. So e.g. this cell has been linked
to this chart. All right. What does this child
have? A reverb? I pulled the dried, which is the dry signal from the synth that you
have shared just now. And just lower the
volume all the way. Well the wet into
around attitude, you can put it at 100%. I boarded this time
a12, this gated a gay, I just bolded 4 s.
That's it. Mogul chops. It makes him feel amazing. This little, little
sound, little synth. A lot of these things. They're very cool. Now the way that
I structured the solid was drop, umbrage, rest, raindrop, drop to show the way that you can
structure your song. You can the bear, right? You may begin a
boot or intro here. Very drop, drop, rest, bridge. Rob will drop two. It says, well, let's go
to the bridge section. So this barge,
someone would ask me, how do you do it
the other parts. Right. I've shared
some people hugs and make the drop. Right. So they had to
steal the question of how they can do
the rest of the drug. And this is very simple. So e.g. if you wanted to do like
a bridge like this, where you're getting
your J1 to transition to some other section of the track, when you can do is the
following general aid you have, you have two options, right? Or do a more dense bar of the truck or a list in dense
part of the drug, right? In this game, for me, the drop is 100% the highest
intense part of the truck. Now I don't want to put more
intensity into the drug and I don't want
to repeat a truck over, over, over again. So what I do is to
I have two options. I can make a transition
to the rest, or I can make a
smoother transition by putting on brooch on it. And this is what I did. I made all the drums less powerful. This is all the drums
in the drop sound. This is home here sound. They sound less powerful. And that is the idea, right? I don't have, I don't want to
put a lot of intensity into the next part because we already have all the intensity
in the drop. But the bag that we
bought in fifth drop. Same atmosphere. This case, this is the base
that we, we rendered, right? Same. So here's a thin, That's why their compositions, the most important part. You can tweak the composition
when you produce, you can change a little bit. But as you can see, the
main thing of the drug is always going to
be the main drop. What I did here was to, instead of making another
baseline or can put just the first part
of the base. So e.g. instead of putting this fall, I use the first part. That adds a lot of
variety into the song that makes it more pleasurable because
it will be half year. So yeah, that's the main part. The main hallway be the bridge. Some people asked
me how to do how to transition from the first
sections of the drug. That was from my might
depend, of course. But the main way or some of the ways that you can transition from one part to another is
one sound effects, right? As you can see, I just
have this. Nothing else. Just by having the contrast of the two parts,
it will do the job. After that. What you can do is the same thing
as you can see. I don't have any
crazy transition. Another way to make
another transition is by having feels like Kensington tube or
having some kind of more effects into the drag. Or by just simply
fading away, right? Or just winning side effects. But the main way to do it
is by making a sound epics, or the way that I
needed in this case. Now let's go for the rest. Let's see what we have. In this case. I would a beach
automation for that, but that's basically remember if you have a
laptop that doesn't work as well as a computer, you can brand this. What I mean by branch. You can rendered out you
can, you can export it. We had another
arrangement and you put it here and you're
going to see it is here. But what else did I did? So there's basically the rest. Now let's make the other part. See you there.
6. Producing Your Second Drop: Now you have the rest. The drop, the mid
section or the bridge. Let's talk about
the second drop. Here's a wig way of how
you can do the same. You can simply copy the
first rub, the same drums, the same everything
onto either by writing, takes on drums out or
put some drums out, or simply insert new
LMS to the song. Curious how this second drop
of the track sounds like. Okay, so the first
thing that you notice is the change of rhythm. In the first Rob, you can hear them drums and the bass mesoglea blade
seamlessly, right? You here for zero, for no var id on the drums. This gaze, we take out
the drums several times, especially at the
beginning of 4 bar. You don't have to do this, but this is the way that
I felt that made sense. This is how the drums
sound. The second drop. As it goes through,
there's a lot of variety going on now, all in the drawings, but
also in the whole drug too. So let's see what we have here. First. We have basically all
the elements from the one. We just copy and paste it. I just added a new element, a Morse or Bryce into the truck. Well, the atmospheres, all the drugs like that base in this case,
I've put it here. Here's the thing. This sound is actually the same sound
that we render before. You can see. We're just adding some effects that made it sound a little
bit more intersting. So e.g. where did these EQ? And then we added
some of them like very broad ideas
that are out here. We added agent job, fresh tube, made the sound way the storage and I
really love it. I was thinking. So as you can see, everything is pretty much
the same as the first drop. The first job is the most
important one in my opinion, because everything has to be is the main thing
of the tribe right? Now. The second drug,
it can be similar, it can be totally different. It can be super different. So much in the sense
of that can be even a different tempo or
having a different rhythm, or it's an error. We ran their dad and dailies, and this is how it sounds. In this case. I also
added even more layers. So yeah, that's pretty much it. As you can see, there's
nothing too crazy about it. In just about having fun. I'm making this sound, the sound or regional, right? So and that's pretty much it. After the second drop, I just added a breach. As you can see, just the same
thing that it did drop one. As you can see also, it is very different
than the drug too. It adds that we're writing to it that continuity of
what we already did. Now in the next section, I will talk about mixing. And after dad will atrophy.
7. Advanced Mixing Techniques: This lecture is about
a quick talk on Nixon. As you're gonna see
in the previous ones. In the production stage. I, they pretty much
all the mixing. And I show you all how
I mixed this song. What is the difference between mixing and mastering, right? Let's compare it to
another thing, right? Let's say that you're
hungry and you want to eat something, right? You mean our recipe. You maybe want, ah, like a Sunday trough
or something. That's your recipe, even
if you don't write it. That's it, the idea that you
have for your song, right? And it's very important
to be specific so you can satisfy your needs more. So that's why the
main composition part is the most important part. Now, protesting the thing is, when you go to their
groceries and you buy, those things, are seeing is about layering beginning sounds. So you make, has what you
already have in mind, right? Mix it in. It's about mixing them together, putting them together
and making sound, making this solid, e.g. or the sandwich, whatever,
taste, very good. So that is the mixing stage, making your songs sung as
good as possible, right? Or the mixing is not
very obligated actually, as you can see, I
treat it very simply. The main thing is I'm
mixing are basically gain staging or
adjusting the volumes. Sometimes you want to
have a geek a little bit or to draw this a little
bit more in the front. Or sometimes they'll even
more in debug depending on what you think the
priority is in the truck. So demonstrate the
base IVC for a jumble in different songs or
in different areas. The base is not
their priority to. The main priority, Dean
for assemble on vocal, pop music, e.g. is the vocals. They made sure the vocals. So I'm very loud, very clear. Now here's the difference. In suburban music. Well, we focused on
was in the base. The base has to sound as good, as whole, as powerful as
possible in this example. So that is the main focus. Different parts in different
Jerry's can be different. In this case, you want the maze, the sun really loud, but also really clear. So yeah, the second
main thing of mixing is basically
EQ equalization. As you can see,
I'd show you how I EQ every single
element of the drug. There is calibration. Not every sound needs
to compression, but sometimes Juanita sound, the sound, squish it down. If that makes sense, I
think you understand. On the four elements that
I believe it is Walden me, elements of mixing is
basically the reverberation. A double mullet, how I have, I had a channel where you
can put reverb on the sound. So we'll make that two to make this sound
all that will be more closer to each
other to do everything sound like in a
room, so to speak. I want to mention that. Another point to make in the gain staging part is
also based upon him, right? Gain staging and planning are
the most important thing. Basically, when you burn things, you are putting the high
Hudson in the left ear, e.g. or surgery sounds
in the right ear. So maybe 50 per share, maybe a third percent, maybe he's 80%, right? That is the main thing
on mixing, right? It's not super-complicated. Was super. Once you have it,
very well, equalized. Welcome breast. Sometimes compression
is not necessary, but very good equalization. You can do padding occurs. It's super hard to do it. What I like to do and what
I love to do is to have like to start off to produce
the whole track in mono. Write. That way. I can focus in
searching things first. I can focus on only making the track sound as
whole as possible. Then later, once I
secured a track on a shared that he sounds as
low as whole as possible. I bind it right. I start putting
things in a stereo. This is crucial that goes digging these
elements, they can, these are taking
it step-by-step, will make you be better
at making music posture. So in summary, the mixing stage, make sure to gray space
in your mix, right? Surgeon sounds, heart
surgeon frequencies, other sounds off
certain frequencies. So make sure to have
room for ****, right? Made sure to EQ them. This is the most EQ. Ah, the EQ is the most important thing in the try writing
the mitosis stage. She might have been
here as long as well as they gain staging and
the panning of the track. But before going in stereo, make sure to enqueue
them and to make sure that the
frequency spectrum, so it's very similar to the track that you're
going to compose or their reference
torque that you have right there guys do
have made it this far. I will teach you the
secret mixing technique to mix and make
bar folds, rungs. Their secret consists
basically having a mixing group and put all
the drums together like this. Live. You see, you
can notice that the drums doesn't go into
the master. So it goes here. It goes to this
channel called drums. So I'll do you do that. You select all the alignments of all the elements
of your drums and your colleague in
the drums journal that you're going to
send these instruments. You right-click in then
wrote to this drug only. That will prevent to
have multiple root. So e.g. this is how
the drums sound like without any effects on it. As you can see, all of them
go to the drums channel. And why we do this
right version, we only routed to the drums because generally
without these link, you will have something
like this, right? You will have this nerve, route it to the master
child. We don't want that. What we want is to
only do the drums. So that's why we selected route to this
channel only, right? So next, after doing that, you can add literally
wherever you want. You can add, you can
add compression. I added a compression but
later on and deactivated. So you can see here. But this is the most
important part. In order to avoid these
kind of inconsistent dramas where we love to do is to put a fruity limiter on
the drum sternal. What is this doing? I think it's pretty
obvious if you see it. I basically, I'm
limiting the drums so they don't get
out of proportion. It might drag. Why do I do this? Without it? There were disabled. The drums look like, as you can see, this nerve
sound way above the Keq. That is because we have
this narrative and we have the gig below it, so it doesn't sound very good. This is all like it together, an adult or towards the whole person perception of the drums. So what is better? The Buddhist ceiling down just above the gig or listener
or something like that. Did you have that way or if drums sound way better, right? You're going to see that
Keq is not going anywhere. You can see this nerve
is not going anywhere. You're going to see every
single element of being, being suddenly very good. So that is a tube that
is the secret technique. This also give those a lot
of room for mastering. It's indented for
a mixing stage. Let's go into the
mastering stage.
8. Mastering Your Track: Now finally, mastering your
cerebrum, drag this case. I just wanted to make a monster from his
garage for you guys. So you can see how I
must remind drugs. I just open a new session
with just these elements. I have this song here. I just inserted into
the volume master, which I will explain later on. Why do I duties? I have ozonide and Napoleon load is meter will
explain this later on. This is how a base, basically Marshall MRI songs. We figure our wildlife
the most loud, the loudest part of the song, which is this one
that dropped two. We're going to bugs
and that love ozone. What I'm doing, what I'm
about to do, you can do it. We basically stopped blogging
is it is not the same. I'm telling you it is not
the same as having ozone. You dig missouri seriously. I really recommend it.
They have a feature that you can get help from an AI, the mustard or songs. And they don't do
the whole master. But they give you like us Dart goal of starch based on
the reference that you have. That's quite, the musical
reference is very important. So we're going to click here. Reference, what?
Referring to strike. But this isn't me refresh. Click in the cysteine and it's going to
analyse the whole thing. So as you can see the Assistant or the searcher and
kind of things, right? So we have this EQ like this. We have all, they did not
made it into the dynamics. They put some dynamics here. Then emic EQ aren't with the
sun as loud as possible. So that is good with the
activated some of those things. For now, we're going
to focus in EQ. So the first thing that
I really love to do in all my tracks used to have low-pass and
high-pass filters. Let me explain this
filter where I can put a brick wall
into 18,000 hz, 30 hz with this
kind of EQ, right? Ways that we don't really hear, wouldn't really listened to those two frequencies
below this week, I'll listen to around 20,000, but this gives you a song. Room, can be loud. The next EQ is the same
and brushing alike how they hold the
assistant EQ ID? I don't like this. I will do this like this. In the base was just fine. Nia, and I do believe that
it needs a lot of it. What else to do it is put their EQ into stereo
instead of posterior. I put it on site. So if you all will listen
to all the meetings, you can listen to drag
in mono eye view. And we'll listen to the side. We can listen only this t-ratio of the tracker,
which is kinda cool. I love to put an EQ here. Why do I do this? So we can create more space or more loudness for the drug. More space always means the chance and opportunity
to make the track louder. So that's basically it put
a little bit of ink here. That's basically it
guys. It's very simple. There are very subtle changes, but they are very important. So now the dynamics, or in other words, we're going to call
them compression. Like to do as you can see, they have like a really cool
feature where you can Larry, what bands you want to
grab intersect just, just to say that way. So we're going to start
embracing this barge. Would RMS this song bird Eurasia around with
391 alive, but That's how you mix it. I'll do you mastered
how you can break it. Sorry. As you can see, I was putting all
the bands, right? Why do I do this? So this, the rachel on all
of these kind of things are similar
to each other. So yeah, very good. Activity, this one
area, this vein. The cool thing about these
compressor is that you can also put it in parallel
or non bottle. Bottle all compression is not something to be fearful
about, is yours. This is the dry signal. This is fully compressed. That is basically it. For the bass part, do the same. Let's measure how you do it. We can add the dynamic EQ, then add some other stuff. You're going to
literally just live your life that and put a maximizer if you feel
like the main thing of mastering if Harbin and eating in the whole
process is either in their knowledge and intelligence of knowing where and when to
put surgeon elements, right? So in this case we
can put some effects. More in the drug. Would like to do is to put an
insider worse the duration. So as you can see,
it sounds very cool. There's a duration when the exciter gives the drag a little bit of
brightness right? Now lastly, but not least, I put an imager, make sure that the soup
frequencies are totally mono. There is no role in any
speaker or anything. So there's basically two guys. I personally loved the mix very quietly because that gives
me a lot of headroom, lot of space to
make it more loud, to make the sound louder. Here's when we introduce
Julian lung is meter cube, which is also, which
is very right. But you can measure your alley VFS into this track or any drug. Basically, they all UFS are, what they are is the
loudness bursa, right? Generally bob music, Hassan, minus six, minus seven. Sometimes you might use five. Loudness perceived or L0 EFS. Some people like
to mastery loud. Like me. Some people like to mustering
just normal around -90 EFS. What this means is just
how loud the sun is. That is just what it means, is that is that L E of S. So now the last
part is just simply making the truck as
loud as possible without making it
sound distorted. That way we put a
maximizer on it. As you go see, it gives
us around nine RDFS, around ten to nine, and the L EFS, which
are kind of a gay, if you want to measure
mean eon or quietly. I really loved, I
really think that terrible music on all
these horrible music, electronic music,
Joe, all sounds good. And minus seven, Aldi averse, or minus eight either bends
a little bit off the track. But basically around that. I also love to pull
the ceiling to -0.3. That gives us a lot of L EFS. So next we're going to put vintage limiter just
to have dual emitters because we are seeing that or drag is not allowed is enough to have just one limiter. This, if you reach around minus
six or minus seven L EFS, without putting
any older limiter, you just can do it that way. You can see, of course
we're peaking around minus four. But here's the thing. It doesn't really
sound very good. Everything is done
to very distorted. So in my opinion, around minus seven or minus h, all your base will do. I do, I run that
sounds very good. Lots of step upward, a little bit of Luther. They're going to see. And that's basically two guys. It's very simple,
very straightforward. The reason that I put
the measure volume here is because
when I split here, this is because when
you explore a sound, sometimes it gives like a little sound in the
beginning of the song. And same with their end, right? If you listen to any
bob music or anything like very bubbler or very professional,
proficiently made. You can hear that there's no sound in the beginning
of the trucks, right? That is it because
they make sure that track sounds very good.
In the beginning. The same in the end. I just put up the
automation like this, just make sure everything
sounds very good. There's nothing leaking. All as you do it
intentionally, right? You put some certain
gaffs sound or a surgeon kinda ambiance
into the track, which you can do that as well. But in this case I
just put nothing. So yeah. Last step is just supporting it. And that's music laden guys. Go where it's, you made it.
9. Final Words: They're your other guys is
very simple logic and Z, one of the main things of the whole process is
a composition are some questions that I wanted to address before saying goodbye. First, remember that
this is just a course. You'll learn the techniques. You've learned a
secret. But remember that this requires practice. No matter how many
courses and you buy. I think it's very
important to be educated, especially by people that do things that hold
you want to do them. Maybe it's composed or
maybe it's business, etc. I think it's very important. But remember that you
have that option. So if Music Hall pianist
or someone blade guitars, he can tell you everything about recording your doors
abode to play the guitar. But remember that requires practice to reach
a certain level. Course, there are
techniques that you need to master to make your
music and better, but always requires practice, though hasn't paid on reaching
out on living a comment. And yeah, thanks so
much for watching. And I hope this was helpful.
Lufus, Music Producer, composer
