Elevate Your Digital Sound: Mix Hip Hop Tracks in FL Studio | Isaac Duarte | Skillshare
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Elevate Your Digital Sound: Mix Hip Hop Tracks in FL Studio

teacher avatar Isaac Duarte, Creating music & helping music producers

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction

      1:30

    • 2.

      Getting Started

      0:52

    • 3.

      Start with Leveling and Panning

      12:14

    • 4.

      EQ Your Tracks

      10:32

    • 5.

      Write in Automation

      6:53

    • 6.

      Use Clipping

      11:10

    • 7.

      Final Thoughts

      0:29

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About This Class

Since developing a passion for music production, Isaac Duarte, also known as IBEENART, has dedicated his career to helping aspiring music producers elevate their craft and change their lives with his music production tutorials. With over 40K followers on Instagram and 25K subscribers on YouTube, Isaac has crafted an online community of other producers looking to learn from him and his decade of experience in the music industry. You might’ve heard Isaac’s productions in video games or in mixed tapes, where he is known for his attention-grabbing, high-quality beats. 

This four-part series brings together everything Isaac has learned as a full-time digital music producer and taught as content creator in the music space. In this class, Isaac shares how to develop a fully mixed track with ease by using leveling, panning, automation, and clipping.

With Isaac helping you through each step, you’ll: 

  • Discover the order in which Isaac mixes his beats
  • Use leveling and panning to balance your final piece
  • Clean up and enhance your piece by EQing your tracks
  • Finish your track using automation and soft clipping 

Plus, you’ll get access to Isaac’s final piece and the sounds and tools he used to put it together. 

Whether you’ve already completed multiple songs and are looking to improve your overall sound or this is your first time producing a piece from start to finish, this class will take you through the entire process of mixing your music like a full-time music producer.  

While you don’t specifically need FL studio experience to take this class, you do need an understanding of digital audio workstations (DAWs) to be able to follow along. You’ll also need a computer, your DAW of choice, and a pair of headphones. Over the ear, wired headphones are recommended but not required. If any of this class feels beyond your skill level, check out this introduction to DAWs and music production with Dom McLennon or start from the beginning of Isaac’s full Music Production Learning Path.

Meet Your Teacher

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Isaac Duarte

Creating music & helping music producers

Teacher

Hey my name is Isaac Duarte, Formally known as "IBEENART", and I'm a music producer from Chicago, Illinois. I'm the owner of "www.the-soundgallery.com" and have gained over 20 million views as a content creator. With over a decade of experience in music production, I've been fortunate to turn my passion into a fulfilling career, traveling the world and participating in exciting musical projects, including mixtapes and video games. I look forward to sharing my expertise with you on Skillshare. Let's explore the world of music production together!

See full profile

Level: Intermediate

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Transcripts

1. Introduction: I love making music. After trying to give it up plenty of times, I always picked it back up, so I know the love is really there and it's really genuine. Honestly, it's just something that I need to breathe. My name is Isaac Duarte. I'm from Chicago, Illinois, and I'm a music producer, and I also create content and own a kit site called the soundgallery.com You've probably seen my work all over social media, all over You Tube, Splice's You Tube channel, video games, mix tape tracks, all sorts of places. If you're nervous or unsure about your mix because there's a lot of ***** and there's a lot of things that overwhelm you, it's okay. The hardest part about mixing is knowing when to stop. Mixing is pretty simple, it doesn't have to be this big complicated thing with all these different plugins. You can get a really good mix by keeping it bare minimum. You're going to follow along and watch me mix this beat in real time. After years of trial and error, I want to give you guys what I've learned so that way you can dive right into it and create high quality tracks. Now, if you don't use FL Studio, it's perfectly fine. Everything that I'm going to teach is universal, so you can apply it to your dough and it'll get you the same results. One thing that I want you to walk away with from this class is an understanding of how simple mixing can be. I'm excited you joined this class. Let's jump right into FL Studio and get to mixing. 2. Getting Started: I know mixing could be scary, but don't worry, I got you. I'm going to show you my mixing process as well as my workflow and my thought process behind getting a good mix. By the end of this class, you'll have a fully mixed beat that sounds good, hits right, and is ready to be sent to any artist of your choosing. So follow along with this class, head over to the project in Resources tab and download this project file, and open it up in FL Studio. Once you do that, you'll be able to follow all the things that I do in this class. For the most part, I'm going to be using stock plug-ins and free plug-ins, so they're all available to you. I'm also excited to hear how good your mix sounds. Upload it to the project in Resources tab so that way I can hear it and give you real time feedback. Now open your doll and let's get started. 3. Start with Leveling and Panning: We're going to kick this off with leveling. Now, to me, leveling is the second most important thing next to sound selection. The reason why I touched on sound selection in all the other classes is because sound selection is one of the most important parts of mixing. If you start with bad sounds, you're pretty much going to be throwing a whole bunch of makeup on a rock, on dirt. It's not going to look good at all. But if you start with good high quality sounds, then mixing becomes a breeze. If you don't know what leveling is, leveling is basically finding a good balance between all the instruments with volume. If you have something that's either too loud or too quiet, it's not really going to translate well. When the artist hears it, they're going to skip to the next beat because it's not sounding punchy, it's not sounding high quality, and all that starts with good sound selection and leveling. One thing I really want to emphasize to you is not to stress your brain on mixing. The reason being is because when you send it to an artist and they cut to it, they're going to want the stems and their engineer is going to mix it to fit the vocals perfectly. That's just something that you have to deal with, but it's honestly going to enhance the record and it's going to enhance the beat. Just keep that in mind. Now, the way that I like to start is to make sure that all the sounds are linked to its own mixture track. You can click the sound and then click "Track", and it'll automatically go to an open track. I'm going to go to all the sounds and go to a single track. Now, if you're like me and you have a symbol or riser, and you have it going one way, and then you have it reversed, you can put it in the same channel. This is at 25. I'm going to put it at 25 because it's the same sound. You don't really need to change up too much. Now we have all our sounds in the mixer. If I play it and I only mute one sound by right clicking the green button, that's all you're going to hear. Nothing else is playing. When it comes to mixing, you want to go to the busiest part where all the sounds are because that's where the most stuff is happening and all the sounds are pretty much going to have the most tension. You're going to want to highlight that by holding right click, and then boom, dragging over so that way you highlight it and when you press play, it loops over. Next. What you're going to want to do is stretch out this mixture window and look for these buttons right here. Let's just go to extra large so that way you can see it and you can see all the plugins that I'm using at the same time. I'm not trying to hide no sauce for you guys. [LAUGHTER] This **** right here is the stereo field ****. If you turn it all the way left, it makes the sound go all the way big and it's all the way stretched out. You don't want to have it stretched out because it'll pretty much water down your sounds. If you go all the way right where it's purple, it's mono, meaning it's just in the middle. It's not going left and right. It's just in the middle. I like to level in mono because it's a lot easier for me to identify certain things. Then once I'm done, I'll just reset it and then it should sound good. Little word of advice too, you do want to start with the drums because if you start the opposite way, you might not have a good balance because you might put too much emphasis on the melody being too loud as opposed to the drums. Then everything's just going to try to fight for space and it's going to be squashed. You don't want that. Now, I'm going to start with the kick in 808. What I'm looking for is just a good balance, just a certain punch that I'm comfortable with. I don't want it super loud like this. That's too much. I want a nice good balance between both. Next is the clap. Next, the accent. The accent snare could be cool that loud, but I like them to be tucked behind the main clap snare pattern. Now this hi-hat. I'm looking for a good balance within the drums just to feel comfortable to introduce the other elements. I want to pan this to the left a little bit. I want the kick to be the loudest thing, and then the clap and the 808 to be the second loudest thing. I want them to have a good relationship with each other because if I have a clap super loud like this and the kick super quiet like this, you hear more of the clap and it's way more noticeable and it's overpowering all the other sounds. I want there to be a good balance between both so that way when the listener hears it and then they start hearing the other elements like the hi-hats, the open hats that complement it but aren't as loud, then it gives them a good groove to listen to. Now that I have a good balance with the drums, I'm going to introduce the main melody because it's constantly playing and the listener is going to be attached to that melody throughout the whole beat. All the other elements are drawn and wrapped around that one melody. I think that should get the main focus first. I just bring it down and then I slowly introduce it. Now the piano keys. Now the pad. Now will be a good time to reset the mono **** just for reference, just to hear what it sounds like, and then we'll put it back into mono. It's sounding pretty good, so let's put it back in mono. Let's turn the pad down just a little bit and then introduce the pluck melody and the tremolo pad. Now the violin. Now let's introduce that re-space. Let's do it over here, the first part of the chorus. Now, you could put the base in mono, just like the 808. You could put the 808 in mono, but nine times out of 10, whatever 808 you choose from any pack is going to be in mono. If there's an 808 that's going left and right, don't use it because that's not what base instruments are supposed to be used for. You could put the re-space maybe in 30%. Let's hear the beat not in mono anymore so that way we can just get a sense of what it sounds like. I can bring that violin down just a little bit. That sounded pretty good. Probably the most minimal thing that we have to do now is just introduce the riser and the other textures. Let's put it back in mono. Then let's just look for the parts. Now, this part, you don't have to loop because they're really fast sounds. Let's start with the riser first. I feel like the riser could be turned up. Let's reset the volume here. Let's level it. That's sounded pretty good. Let's look at the crash. That crash is way too loud, so we got to turn that down. Now let's listen to this texture. That one sounding pretty fine where it's at. Let's hear this all day hit. Now that we have the melodic elements balanced perfectly with the drums and we have the textures and transitions flowing smoothly from part to part, we could just listen back and adjust little by little wherever we see fit. Let's listen to it as a whole with mono unchecked. Still feel like that violin can be turned down. Turn that crash down. Now it's your turn to balance your tracks. Start with the drums, get a good balance, and then introduce the melodic parts one by one. Once you do that, then you can introduce the other textures and transitions so that way everything can flow smoothly. Now, don't be afraid to analyze some of the mixed decisions that I've made in this project file. You have access to it and you can change anything you'd like. Next up is EQ. 4. EQ Your Tracks: Now, we're at the EQ stage. Now, if you don't know what EQ is, it means equalization. All sounds have a frequency range where they shine the best, but everything outside of that bleeds over. That's when EQ comes into play because it gives you more room to clean up everything and focus on that one general frequency range where the sound is shining the best. Now, what EQ does is basically a volume map for specific frequencies. If you want to turn the base up, you would go occupy the lower registry of the frequency range. But if you want to clean up the base to allow the higher registry to shine, you would basically use the EQ to clean that up. EQ is perfect for brightening stuff or darkening stuff. Now, when it comes to this track, we have good sound selection. We have a good balance of all the elements. But we can't really leave it just there because there are some sounds that occupy the lower registry and the higher registry. We need a EQ to clean that up, so that way certain parts can shine the best. We're going to do just that. I'm going to go to the busiest section where all the instruments are and I'm just going to loop that over. Next, I'm going to go to each individual instrument and just solo it and clean it up a little bit. We're going to go to the rhodes, which is the main instrument, and I have a EQ pulled up. Now, the easiest thing you can do is either go to this one right click and go to high pass. Then you can adjust the curve if you want, but if you want a preset, you can right click "Presets", and go up here and just click "20 Hz +18kHz cut". This to give you a same thing but it just sharper curve. I'm going to listen to it and I'm going to show you our high EQ. That's pretty much it. That's what I do for all the elements. I'm rolling off this first band and I'm cutting all the lows, all the way to the low mids, and even all the way to the mids, just to hear when the sound starts getting affected and then I back off. I'll show you one more time. I'm in play and I'm rolling all of this off. I don't want this. Now, it's starting to sound super thin, so I'm going to back off. Sound a little hollow. So I'm going to go back up. I'm going to find a sweet spot. I cut all the way to the 220 range. That way the sound is cleaned up and it doesn't have any low end. That way the 808 and the reese bass have its own place to shine. I'm going to do that for the other elements as well. Click the VST go to that preset and do the same thing. I don't want to overdo it, I don't want to underdo it. I want to just find the sweet spot so that way I know that I took enough lows out to the point where it's affecting the sound and the lows are completely removed and then I'm backing off a little bit just so I can find that sweet spot to where the sound doesn't lose characteristic. Now, let's go to the pluck. Now, I'm going to slow the pluck because the pluck has the most effects. Now, one thing to keep in mind is the order of effects does matter. If you put the EQ all the way up in the first insert, it's going to affect the raw sound. But if I introduce creative effects to give it more character like I did for this pluck, then it's going to introduce some lows that you might have thought you took care of, but now they're reintroduced because you have all these different effect plug ins to give it that character. It's best to bring it all the way at the end so that way you can control it a little bit more, and if you want to put a second EQ, that's perfectly fine. If you don't know how I'm moving the effects up and down, all you have to do is put your pointer over the plug in name and then just scroll down on your mouse and you can move the order of effects. Let's hear this. I don't want to cut off the high, so I'm going to put this over here. Now, this is sounding pretty good so far. Now, let's try this pad. Let's hear all the melodies together. I got to take care of this violin. Now, if you feel like the sound got a little bit more thinner and it's messing with your balance, all you have to do is highlight those elements by holding control and clicking the Mixer, so that way you can select them all and then you could just bring them up in volume just a little bit to match up. Let's play the drums so that way we can hear that. Now, that I have all my melodic elements done and mixed and EQed, and I'm going to move on to the drums. Drums are very sneaky because they'll have some low end and you won't even know it, even though they occupy the high registry. If you look at this high hat, look at all that. It's just added low end that we don't need. I'm seeing my CPU and it is tweaking a little bit. One thing to ease the CPU on your computer is you can go up here to Tools, Macros, and then you can hit Switch to smart disable for all plug ins. This is basically going to turn off all the plug ins that you're not using, so we're not using the other effects at this moment so that we can focus on just these elements. Also, keep in mind that all mixer tracks come with EQ on them. They're not affected. You could just adjust them here. They're just the three band EQ. For this one, I'm going to add some high end to this clap because I like my claps crispy, then snare too. It's sounding pretty good. The EQ decisions are pretty light. I don't have to do too much. The only thing that I would probably EQ is maybe the risers and the textures. But because it doesn't have that much low end, it really doesn't matter because it's only affecting a certain part, so I wouldn't worry about that too much. You don't want to put a whole bunch of EQs and stuff on there, and also stock plug ins are great because you don't have to do too much with the EQ. All EQs are pretty much the same. If you have a stock one, you pretty much have a million other EQs. Now, we have all the elements cleaned up. We've made room for the 808 and the kick to hit perfectly without any interference. Let's hear before and after. I'm going to turn off all the EQs. Now, this is before. It sounds pretty cool, but I want all those elements back. Now, let's listen. Now, it's your turn to EQ your tracks. Start by EQing and cleaning up the low end and then enhancing the sound. You can turn up the high end on some claps or you can make way for other sounds to have their own shine within that frequency range just by adjusting the EQ band. Next up is automation. 5. Write in Automation: Now that we have a good balance and we've cleaned up our sounds, we need automation to introduce certain effects at certain parts. Automation could be applied to any plug-in to turn a certain sound or **** up and down at a certain section. I'm going to put on my headphones and I'm going to show you how to automate. Now for certain parts I might want the low end just because it gives a little bit more fullness. For example, if in the verse I don't want that reece bass because I introduced it over here. I'll simply delete it or mute it. Then I would go to those two instruments, the EQ on the rhodes and the piano keys. I would simply go to the mixer track, go to the mix ****, right click and click "Create Automation". Now it's going to look like this because it's all the way active. If I have it midway through, the mix **** is going to look like this. Then it's going to go up because I have it going up in a slant. I don't want that. What I want is for it to be on until I hit the verse part. I'm going to right click to create a point, and then right click again to create another point. Then right click over here where I want it to stop. Then right click over here, so I want it active. When the start of this verse happens, the EQ is getting cut off. Now, I'm going to label it RHODES EQ, that way it's easy to identify. Next I'm going to go to the piano key. I'm going to do the same thing, right click "Create automation clip". I'm going to click this track, and then I'm going to insert an empty track, so that way I have a little bit more room to work with so I don't have to play the guessing game. I'm going to repeat the process. It goes from just this to this. You feel that? I like that. It feels good. And then it's going to turn off. Now the low end is gone as soon as the eight way in the kick are introduced. Now I like how that sounds. What I'm going to do for the intro is I'm going to repeat the process the same thing. You could also have it on a slant. You could control like how smooth you want it to come in. It could come in super smooth and then super aggressive at the end. But for the intro, I want it to have that low end because I'm already filtering off all the high end when I was creating the automation for the intro to create a catchy intro, it sounds like this. Sounds like something's coming because that low end is still there. Then the low end is completely gone from those low nodes. It's felt more than heard and it's complementing the reece bass. It's just that simple. Now here's how to create an outro. You highlight the outro, you open up fruity balance. You get a peak at the plug-ins that I use on daily fruity balance. Now you're going to right click the "Volume" **** and "Create automation clip". Then you're just going to create a nice slant down and if you want to adjust it, have a little bit more of a smoother volume fade. You can do that. It sounds like this. It sounds more cinematic. Sounds like a nice resolution. [LAUGHTER] Sounds really good. Now if you want not have to put automation clips on everything, the great thing about the new FL Studio update is you can use cross-fades so you don't have to use automation for audio wave forms. All you have to do is go up here to this top left corner and click this wave form. Next, click this show fade editing controls. Now you can have the ability to do this, so that way the riser comes in a little bit more smoother so you don't have to add automation clip. Everything else is coming in pretty smoothly. Now if you want to control all of them at the same time without having to go one by one and go okay, right here, Do the same thing and try to mimic it. All you have to do is hit "Control", click the track, and it's going to select all those sounds. Zoom so you get a more detailed look and then adjust the fade. Now all the other fades are adjusted exactly like that one, so you don't have to copy and paste. Or spend time that you don't need to waste on trying to get as detailed as possible with those fades. You can do it all at once. Now the best thing about automation is you have control and you have time. If you control something at the right time, it'll just sound chef's kisses. Back then they didn't have to do that because they had to do it little by little on tape. And that was probably time consuming process. But with the creative effects that you have, you can control when you want certain things to happen. That's the beauty of automation. Now it's your turn. Try using automation to get creative with your effects and control what you want to control at a certain point in time. If you wanted to have a fade and then rise up, you can do that. But if you wanted to have a cinematic ending, you could also do that with the magic of automation. Now I want to see what you do. Next up is clipping, that's where we get our drums to really ****. I can't wait to see you there. 6. Use Clipping: Now I can introduce you to the icing on the cake, clipping. Now, what is clipping? Well, clipping could be a good or bad thing, depending on how you use it. Bad clipping is going in the red and it's sounding distorted, it's sounding squashed together, and it's sounding not good at all. Most engineers and producers tell you to avoid clipping. But over the last 12 years or so, maybe even 15, FL Studio has really changed the music industry and music in general because of their outlook on clipping. Everybody always says FL has a certain sound, and it's because of the way that they figured out clipping, rather soft clipping. Now, soft clipping is the good clipping. Soft clipping pretty much rounds out the sound, so rather than having it full-on in your ear, it has a more pleasant ear-pleasing sound and it's perceived to be even louder. Hard clipping is when your master goes red and you get digital distortion. This is what hard clipping looks and sounds like. I'm going to go over to this tab where the light bulb is, to the precomputed effects, and under the Boost **** is Clip. Basically, there's a ceiling introduced, and the more I push the sound with the Boost ****, the more it's clipped and it looks like a square. Now, brace yourself because it's probably going to sound loud and not ear-pleasing. [NOISE] That's hard clipping. Now, if I play this now, [NOISE] and boost it up a little bit more, [NOISE] that's soft clipping. Notice how the waveform got bigger and it's out of you as opposed to when I hit Clip. You see that the more I turn it up, the more square it is. But if I turn off Clip and I turn it up, you see the louder the waveform gets. It basically amplifies the sound and it gives it a lot more volume to it. Now that we know that soft clipping is good and hard clipping is bad, let's apply a soft clipper onto the master, so that way the drums could really hit. The first thing that I do is I open up a parametric EQ. When I open up the EQ, I turn up a bit of the high end and it's going to sound really good, especially when I introduce the soft clipper. Because just like the soft clipper is rounding out the sound, it's also dampening it a little bit. If you pull up the high end just a little bit on the EQ ****, you'll get a more ear-pleasing sound because there's high-end introduced and it's not all just lows. Now, I'm going to open up a soft clipper right here. Boom. Here's the free soft clipper. I don't touch the *****, I don't do anything that is already messing with the sounds. It looks pretty the way it is [LAUGHTER] and it works perfectly. Now if you don't use FL Studio, you can also use this plug-in called GClip. It's free. The great thing about this clipping is you can control the softness and the hardness so you can have a nice blend between ear-pleasing soft clipping and a hard clip. Now, let's hear what these drums sound like dolo. Now that I have the soft clip on there, I can go back to the kick and turn it up. I'm going to hit Control and select the Kick and the 808, and I'm going to turn it up just a little bit. Now, I know I said I don't clip when I'm leveling, but with the Kick, I like the clip because once I have the soft clipper on there, it's giving it a more rounded sound, and I'm going to show you. I'm going to put Edison right behind the soft clipper, so that way it records it and you see it visually what it looks like. For years, people have been tricking others into thinking that you need to have all these plug-ins and all these other analog gear effects to make kicks sound good. Honestly, you just need to apply a soft clipper and turn it up. That's why a lot of people love FL Studio. I remember one time I was in the studio with somebody and they were like, no those kicks aren't hidden, open that up in FL Studio and just run it through there and then export it. [LAUGHTER] That's crazy. But I was like, you know what? Hey, he knows what he's doing. They gave me the session and then that's what I did. I added that slide to it. Now let's listen to it in context. It sounds pretty sick. Another type of clipping that I use is called a Fruity Limiter. I don't use the FL Limiter a lot. As a limiter, I don't use it like that because I think it's the devil. [LAUGHTER] It'll mess up your sound. What I do is I mess with this saturation **** right here. Now, I put the ceiling all the way up, so the limiter is not even active. But I'm going to listen to the sound and I'm going to use the saturator. This gives me a different type of soft clipping, different sound, different type of taste. I personally like it. If I want soft clipping, I'll use a soft clipper, if I want a little bit more control, I'll use the Fruit Limiter saturated button. It gives it a more crunchier sound. I'm going to record it in Edison just to show you what it looks like. I'm going to adjust saturation. They both hit differently. I think using the saturator adds a little bit more warmth. It's all personal taste, but honestly, you can't go wrong with any of these methods. Even if you use GClip, you can achieve the same results the same thing. If you're using Ableton and you want to know how to make your drums slap, use GClip. Now that we got the beat to knock, one last thing that I like to do as a reference is I like to lower the master volume all the way down to negative 20 dB. I know I'm sounding crazy right now. But the reason why I like to do this is because when I play the most busiest part and I lower the volume, it's a dead giveaway of what sounds are poking out the most that I could lower. That's just a last-minute little thing. Let's listen to it. Slower it down a little bit more. I'll probably lower the high has down just a little bit. Lower the mass volume a little bit more. Probably lower the clap, just the dB. Then maybe lower the volume on the violin and lower the trend part just a little bit. Now everything is sounding pretty good. Let's turn it up and let's hear what it sounds like. Now, the last thing that I like to do is I like to turn the master volume down between three dB and six dB. The reason why is because when the artist hears the beat and they're vibing, they're like, oh, man, this is hard, I got an idea for it. They want to jump right into it. But if it's too loud and some elements are not in the right balance, then it's not going to sound right to them. They're going to be like, as soon as I put these headphones on, it's not hitting right, it's not sounding good. I don't know, and you want to remove all doubt and all overthinking from their process. Once you lower it negative six dBs, you're going to hear what they're going to hear and record to. Golden rule, go to the master volume. Turn your master volume all the way down from negative 20 dB maybe to negative 40 dB. Just to see what sounds poke out the most. If it pokes out, adjust. Then bring it up to negative six dB to negative three dB, just so you can get an idea of what the artist is going to hear when they record to. Just so you know, it's hitting, everything is sitting right, and when they hear it on loudspeakers with their voice, it's going to sound good. Let's hear that. [LAUGHTER] The only thing I'll probably turn down is that riser and that crash. Again, I don't want any sound really poking out, and that's negative six dB range. Now we have a fully mixed track that's ready to be sent to any artist. It hits, it sounds really good. It's arranged simple, but good enough for them to create a really good song on, and all the elements are there. Now, it's your turn to show me how your drums knock. I want to hear you use clipping with your drums and I want to hear how good you can get it to sound with those two methods that I showed you earlier. When you're done, export the track and upload it to the Project and Resources tab so that way I can give you real-time feedback. Who knows? Maybe I can collaborate with one of you if it sounds really good. 7. Final Thoughts: Congratulations, you've made it to the end of this class. You should now have a fully mixed track that sounds good and it punches. Upload it to the Project and Resources tab so that way I can hear it and give you real-time feedback. I hope you learned a lot in this class. I appreciate you for taking the time to watch and listen. I really can't wait to hear what you've made, and I look forward to seeing you next time.