Transcripts
1. THIS IS CUBASE / NUENDO: Hey, guys, I'm Seth. And whether you use
AI or manual editing, you'll probably
notice that audio has a pivotal importance in any
successful piece of content, sometimes even
more video itself. Audio workstations
have become so powerful that you can
create entire songs, even just using any sound
that you have in mind. For example, let's pick
three random sources. A bird. Human voice. Got it. And some electromagnetic fields. When you have all the right
knowledge and tools in place, you can freely flip all
these sounds as you wish until you get
a sound you like. Um many ways to reach a professional sound, but ultimately,
it all depends on how much you desire
to reach the result. Luckily for you, I'm here
to help you with that. So if you're ready to
start, let me know.
2. Intro Message: Alright, so at this point, QMH and innuendo became the
digital audio workstations that have the ultimate
balance between elegance and bad *** power. The only issue with this is that they're so huge that it can be very intimidating to
start from scratch, right? This course is an
attempt to simplify all that by showing you
every single part of these softers so you
can simply learn exactly what you need and then reorder these by the end of it. Just put together your
own projects, right? So just let me know how it goes. In case you need
additional help. I will be completely
available, send me a message. You can also leave a
review where we want. Yeah. So remember you don't watch the whole
thing in one shot, just sleep between the sections. And yeah, let's do it. Poll.
3. DOWNLOAD THE RESOURCES!: Before you start the course, remember to download
the resources. So you need to go
to the landing page of the course, right? Then go to project resources. And here you're going to find a special word that
contains the link. You're going to recognize
it because it's going to be kind of a bold word
that says kind of here. You know, when you click
that special word, it's going to bring you
here in a drive folder. You simply download the zip folder that you're
going to see here. And after you download the file, you simply need to extract
it with a special password. Simply right, click on the
Zip file. Extract here. Yeah, this is gonna
ask you the password. So the password is Odd
World 654, and then XXX. Alright, so odd world
654 XXX. Simply confirm. W seconds and fool. Alright, now we
have all the files. You can delete the Zip file. And where did you go? Alright?
4. Cubase vs Nuendo: Alright, so before we
start doing anything, let me explain the
main difference between base and innuendo. Well, fundamentally, there are
four levels of base, okay? There's a bronze version, which is base elements. Then we have base artist and then Cubase Pro which has all the features
unlocked, you know? Then you have only if you're making a video game
and you need specifically should have more control on the sound design with a
specific feature that allows you should communicate straight with a game engine. You can use nuendo for that. Or if you need to work on big installations
with 1,000 speakers, Nuendo also is the
way to go because it gives you something
called Dub atms. If you don't need those
things, if you're focused specifically on sound
design or music, just say with base Pro or lower. You can follow most
of this course simply only if you have even
base elements, okay? I will do my best to make
compatible with QBse elements. There are going
to be a few times where I will show you
a feature that is only exclusive to
QBseP or nuendo, but that's going to be mostly about 10% of the course, right? So for the most part, you
can follow the whole course, even if you have only base
elements. Yeah, let's
5. Optimize 1: Preferences: So before we go to
the phone itself, we're going to do
some boring stuff. We're going to
optimize the software as much as possible, right? So let's go to edit. Scroll all the way down
until see preferences. Okay. And then I'll simply open. And we're going to now
now I'm going to go to each section and simply
copy what I do, okay? So first of all,
we need to go to general and increase
the frequency of the auto saves 3 minutes
and 300 backups per project. Okay, so this will keep
our projects very safe. We can go back in time in case some catastrophe
happens, you know? So that's my recommendation. But you can change
this to where we want. Then the say all
the Jack box here, show news and hum we don't
need to know the news. And in case when you
start using the program, you have issues with a
mouse precision clicks. Simply go back to
general preferences and disable this check box here. You know, in my case,
for my specific screen, I do have this issue. So I disabled the high
definition setting, right? But by default, keep this
enabled, see how it works. In case it's
perfect, keep it on. It will make everything
look sharper. Then let's go to editors, copy just freeze this frame
and copy these settings. Then go to editing. Do. And here on
processing shared clips, change the settings to
create new version, right? So just click and change
it to create new version. Then jump to event this lay and change these two settings
to minimal and minimal. Okay, minimal, minimal. Then go to metering down here and change the
milliseconds speed to 750. That's going to make
everything a little more reactive, and that's
going to be good. So copy my settings here. Then jump down to VST here. And then on auto
monitoring setting, change to tape machine style. That's the most versatile
as possible. You know? When you become advanced, when you figure out what these do, you may go back to the
setting to change it. But in my experience, this is the most comfortable
setting, you know, that will automatically do a couple of things
when you record, it's very useful to keep
it this way, you know? And then change the default
sound level to minus six. Okay, minus six. And since we're here, let's
also click on Control Room. In case you have it, and
then change this thing here, auto disabled talkback
mode to play and record. Then go to user interface, track and mix Console
channel colors and change this
for setting here, Auto track to use random. So this will create a random color for every
new track that you create. So it'll kind of allow you to distinguish the tracks
way more easily. Okay? So we go to record Audio. Let me
explain what this is. Fundamentally, when
we record audio, it may happen that we
need actually a tiny bit of what was happening slightly before we even press
record, right? So this feature is
called pre record, and it's very useful to have
always some of that, right? So in this case, my experience, I always found that 1
second is already enough, you know, especially if
you simply make music. But if you need more
pre record time, just extend it from this
thing here, you know? So in this case, it's 1 second, and
we're happy with that. And yeah, here, we're done with the preferences
optimizations. But this point, just press
Enter to confirm all this.
6. Optimize 2: Empty Timeline: Let's go on an empty project. So when you open the software, you can simply create the empty timeline,
or save a template. I'm going to show you
later how to do it. In this case, let's go with
the standard empty timeline. So we go here, templates empty, and you can choose the location, default location or prompt
a new one every time. In this case, I use the prompt
and double clicon empty. And let's go to empty
folder, and that's it. Let's go here, save,
and that's it. Okay, that's how
we're going to see probably when you open the
software for the first time. It you may have additional
windows like this, something here, you know, open. In case you do,
just copy my setup. So fundamentally close
these additional windows by clicking these buttons, so we make this look as
simple as possible, you know, so make sure that
looks exactly like mine by clicking these
buttons on the top right. Okay, now that we are
in an empty timeline, we can continue the
optimizations, pressing shifts. Shifts opens this
amazing window here, and we need to simply
do a couple of things. Go to volume Max
and enable clus 12. So this will give us more room to boost the volume when needed. Okay? Then go here, where it says sample Make sure that is always
on the 48 or 44. I'm going to explain which
one of these sues you use, but make sure that it's simply used as one of
these two for now, okay, don't worry about that. Instead, make sure
that you change the recording format to flag. So flag is fundamentally a
equivalent format as wave, which means last less format, no loss in quality. But it's about 50% smaller. So it means that we can
double fundamentally the capacity of your
drive to record, right? So if you keep this on wave, you can record only 1
hour of audio in total, for example, with flack, you can do the equivalent
quality of audio, but twice as long, so 2 hours. Okay? So for efficiency, let's enable flack and just
make sure that you enable 24. By default, use 24 flack and
48 or 44. Okay? That's it. And yeah, Okay, we're done with this window, then we confirm
7. Optimize 3: Full Driver Setup: And finally, we go to
the third final part of the optimization by
going to Studio. And then studio setup. Make sure that you go
to audio system here and simply copy
my settings here. You know, make sure
that you have 32. I may ask you to reboot to the program in case
you do it later. And then copy simply
my settings here. So this fundamentally
is the optimization of the audio playback and
recording engine, right? So we simply enable
these nice jack booxes just copy exactly
what you see here. You know, at this point, we
need to set up the driver. So the driver is a piece of software that allows
your computer to detect your piece of hardware in order to
output real sound, the real or to record audio from real life using the
physical inputs of your piece of audio card. You know, if you're simply
using a base on a laptop, right, you probably have
an integrated audio card. So the setup is going
to be very simple. You simply go here. And select one of the default options
that you want see. You're going to probably
see at least two things Steinberg built in as
your driver or generic. You know, one of these here, for sure, you're going to see. So in case you see
Steinberg built in, choose that one is going to give you the most
flexibility, you know. In case you see
one of these that says exactly the
name of your device, choose that one, alright? If you have external
audio interface, you need to install the
drivers of the interface. So those can be found in the manual of the box when
you purchase the card, and you can doload those from the official website, right? For example, here, one of the most famous ones is
the focus right, right? So you need to install the drivers and then
remoot your system. You will see the
option here available. So choose the right
one, and that way, QBs will detect your audio card as a output and
input device, right? And so in this case, I'm using Steinberg and not my
actual card because my main driver is busy with the application I'm using to
record this tutorial, right? So in this case, I'm using Steinberg built in,
which is pretty good. This thing, as your four a, is a nice driver because it has the unique ability to use multiple interfaces
at the same time. So I'm going to leave
you a link here in case you need that
specific case use. But for most people,
the generic Steinberg built in is going
to solve the issue. Or if you have an external card, download the driver and
you're ready to go. Alright. And yeah, let's switch. Okay. And then all you
need to do is to go to the option of that
driver that will appear right below system here. Okay. In this case,
as you can see, I have two physical inputs available and two physical
outputs available. Okay. In case you
don't see these, in case you don't see
your device listed like this after you selected
the Steinberg driver, you probably simply
select those manually. So you simply go to the
list of devices here, click Control Pannel here. Alright, so in this case, now, as you can see is
brutally listing all my available devices,
you know, right now. So in this case, I simply
selected my actual interface, you know, the Steinberg,
whatever, this. So I select the checkbox, choose its physical
outputs, right? And I also won't use
its inputs, right? So I select the same name
also on the inputs list here. Alright, so simply select
the checkboxes that say your interface and then
confirm and that's it. And then after you see
those, you're ready to go. In case your interface gives you this chat box, available
direct monitoring, usually is a good thing to enable that because that
means that you can then when you record audio from
MC is going to give you a zero latency monitoring of the signal in
your headphones, which is a very
good thing, right? Because normally when you
don't have this jack box, you got to deal with latency. You're going to have
some milliseconds between the time where you sing and the time
where you actually hear the feedback on
your headphones, right? Because there's some
processing involved, right? So that's called latency, and there is a way
to reduce it by reducing the so
called buffer time. In this case, with
this specific driver, I cannot change that, but let me just
simulate the fact that so's suppose I selected the
actual driver on my card, which is called Yama, right? So let me call the
actual driver. Let me show how it looks like.
Alright, let's go there. Okay, so this already is where you may see when you
work on your side, right? So you actually open when you select Control panel, right, it may open something like this, where it actually gives you this thing here
with the samples. The samples buffer
time is what is going to determine the latency
of your input monitoring and the actual time that passes from the moment
where you press play on the keyboard
and the moment where you hear the audio on
your headphones, okay? So to reduce latency simply reduce the number
of samples, you know? So oh, if you want very high
reactivity, go very low. I, you know, 128, 64, but be careful because it uses a lot of CPU and you may
experience glitches. In case you hear glitches, simply increase slowly
the buffer time, you know, maybe double
it like this two, 56 until you may eventually
hear no glitches, and that means that your
specific CPU computer is able to support up to
that specific latency, okay? So in my case, this
you can see is set up very low because
I want you I like to have very low latency when I play the piano,
for example, right? Or sometimes with
very heavy projects, you need to increase this. And my recommendation
is to go around ten, 24 samples, you know, so just increase
this number like this and then suddenly confirm. Okay? And so, yeah, so that's all you should know about
the buffer time, you know? And finally, remember that some specific audio cards have a built in
direct monitoring. It means that even if you
don't have the check box here, you may still have the
direct monitoring without latency integrated
from the audio card. So just study carefully the physical knobs
of your card because you may be able to hear your voice input without
latency, which is a good thing. At this point, we're ready to do the first ever sound check. Okay? So let's simply confirm. Now, as you can
see, you may notice that this says not connected
and not connected. To fix this issue, let's simply press at
four on your keyboard. To open the input and
output menu here, right? So, in case this
menu doesn't open, simply click anywhere
in these things here. And it will open the
same menu, okay? So at this point, let's
go first to the output here where it says
stereo out here, and then simply click where
it says audio device. I will open your driver, right? Available. In this
case, we're going to select Steinberg built in. And let me show you how it looks like probably
on your side. I like this, not connected.
Okay. So I select the driver. By default is going
to already do a stereo output on your
project, and that's it. This is something that you
need to do once and forever. So you just set this
up the first time, and then base is
going to remember this setting forever until
you change it, okay? In this case, it's connected. Now we can do a sound check by going back here
on the timeline, and we simply press Space bar. And now we can enable
the metronome. So let's go to F two
to see this bar, and then we press C for the
metronome here, you know? Okay. So if you hear, as you can see, we can hear one, two, three, four, one, two, three, four.
Alright. That's it. So that's the quick way you have a sound check, you
know, so that's it. If you hear the sound
of the metronome, it means that it's working. Now, wherever we will play from our project will be played in
our headphones or speakers, whatever you're using from your physical outputs of your card. Alright? And, okay, so at
this point, that's it. So that's how you have
base ready to go. I'm going to explain
later how you set up also the
inputs. Don't worry. Finally, at this point,
we don't need to see this weird thing here. We don't need to see
all these information. It's very useless. So let's hide it
by going up here. In this case, I have a shot, but let me show you
how to do it manually. So we go up here to the very
right here and then click this gear and then simply
disable studies line. Boom. Okay. And yeah, so and that's it. Now
we're ready to go.
8. Full UI Tour: All right, so the
timeline is where all the action happens
for most of the time. So let me tell you the most
important shortcuts, okay? So if you have the
number padded, you can press plus and minus to move fast like this, right? And then you can also
use Shift plus shift, minus to move even faster
in the timeline like this. Or if you don't have those keys, you can simply use the mouse
here in this area like this. Click. And then you can click the wheel to move like
this slowly, like this. Alright? And then
you can use G and H, Zoom in, Zoom out horizontally. And then Shift F, he
completely zoom out. All of a sudden,
like this, boom, kind of chow zoom
out completely, to see the entire
project from far. Then you can hold control
and rotate the wheel, chew zoom in and zoom out again. Same thing. And finally, if you want to jump straight at the beginning
of the project, all of a sudden press the dot on the number pad like this. All right, and it will
automatically jump. Or, again, if you
don't have that, just click, just go all the
way with the mouse like this. And yeah, so these are
the main shortcuts. Memorize these because you're
use those all the time. Up here, we have a series of controls, indicators of data. My recommendation is to
copy my specific layout. So because this kind of optimize should be minimalistic
and very simple, it just shows you the
main things that you're going to use 90% of
the time, right? So to copy this more easily, I'm going to right click here. And simply make sure that your check boxes
are the same as mine. So just freeze,
pause the video and just copy exactly my layout. Just enable these,
disable it ones. I'm gonna slowly move. Alright, copy. Make sure that yours
match mine. You know? In case you don't like
the order of these later, you can rearrange this
by simply dragging this. Obviously, like this. But yeah, so make sure that they match
my setup specifically. That way you have the most
simple layout as possible. So make sure that these
specifically are visible here. In case you don't
have any track, let's create a random
track for now. So we right click
here and Audio Track. Confirm. And this thing here on the left is
called inspectors. Here is where we see all the
specific data of that track. You know, we can
regulate the volume where it will go to, right? And also, we can see the
effects that we're using there, and also we can tweak the volume of that
track specifically. So you may have a slightly
different set of options. You may form, see this thing
here very uncomfortable. So let's disable this weird
thing. You will never use it. Instead, just right
click here on an empty spot here
and set up sections. Make sure that your
checkboxes are the same as mine and arrange these in this specific way. Alright? So, one, two, three, four. We don't
need anything else. Alright, so simply these
four, and that's it. 20% of the time,
you may need to go to the actual mixer
console, right? In theory, we can open a mini console down here
with this button here, but it's very tight. Let's actually use
the full size. So if you get used to use
the full size console, you're gonna thank
me later, right? So just press at
three to open that. Let me show you. Looks
like this, right? So like a proper full
size console, right? We can mix regulate the volume in a more
specific way from here. You know, we can treat
the size, you know, like this with the
same keys, you know, G and H do the same thing
on the console, right? Or you can also press
shift G&A to change the vertical Zoom of the blocks here and to see the effects
names better, you know? And we're going to
go back here later. You know, we also
have the control room for advanced mixing situations. But, yeah, so most people go into this window more rarely, like 10% of the time, you know, so don't worry
about that for now. And, in case you cannot open
it with F three by going to studio and then mix console
here. Alright, same thing. And final shortcut.
Obviously, if you need to zoom vertically in the
timeline, press Shift GH. Same thing, like this, alright?
9. The Most Used Types of Tracks: When you we click
on an empty spot here or you press
the plus button, it will tell you, Okay, which track do you
want to create? As you can see there
are so many times, but the truth is that
most people are fine with audio tracks and
instrument tracks. That's it. So most of the time you will spend with these two
types of tracks. So let me show you we right
click and audio Track. Hey, just confirm it for
now, doesn't matter. So the audio tracks allow you to record audio from real life. So using a real
instrument or voice, for example, using
the mic, right? And then you're going to
see the actual signal here as a track, right? And then you can tweak it, you can chop it, apply
fax, where we want. So that's what the
audio track does. Or you can drag samples from
the outside world, right? You can just download some sound from Internet and
download it here, you know, remix
it where we want. And that's what the
audio track does. You know, the second
type of track that people use is
the instrument track. Fundamentally, A play
a virtual instrument using a midi controller, which can be a keyboard
or a drum pad, right, or simply a
virtual keyboard usually called Niki
Mouse keyboard. So if you press AK, you can see this
mini thing here. Allows you use the keyboard of the computer to play notes. Well, first, we need to
create an instrument track, so we right click instrument and select one of the instruments from
the available list. You may have a shorter
list in your case, but in your case,
let's use Halon Sonic, which is kind of a multi
instrument container and confirm and that's
how it looks like. You know, here, you just select one of the
instruments that you want. I'm going to show you this
layer in more detail. But for now, see
what is happening? We have a first
instrument, right? And, yeah, and then you can play it also with the
keyboard of the mouse. You know? With the left and right,
you change the octave. You see what's happening?
And, yeah, so again, this. Just play so obviously, it's not the most optimal
situation, right? So, if you can just
purchase a $50 keyboard, so you can simply play more realistically
with dynamics, right? Yeah, and just go
from there, you know, and then when you're done,
just close this thing here. And you will see the performance
being recorded here. I'm going to show you
later in more detail. So these are the
two tracks types that most people
spend the time with. Then all the ones are
fundamentally extra, right? But just to brief you
on all the main types, let me show you
right clear here. We have then the sampler track. The sampler track,
fundamental allows you to drag in one of the samples that you have you can just drag those from a audio track or from the browser of
your computer, right? And then fundamentally,
you can kind of trigger that sound, re pitch it. You can do many fun things
with a specific sound, right? Or very similar to this, there's also the drum track. So if you right
click here again, here, we have a drum track. Here, this you fundamentally create your own custom sampler, so you drag in multiple samples, and you can kind of program
each sample individually so you can have your custom
multi sample system. You can use the stock
instruments here. You know, you can make very
very custom things with this and then what else? Let me go here, right click. Midi track already
is a little more rarely use because the
instrument does the same thing. Sometimes you need the
midi track to kind of control other things
in a specific way. So couple tracks that you may use very often when
you become more densed are the group track
and the effect track. So pomety the group and effect
track allow you to have simultaneous signal
paths where you can send the ponmet
allow you to send multiple instruments
to the same effect at the same time without
having to use the same effect. On fur track. So it's kind of an
efficient solution to use the last CPU and achieve
the same sound, right? But the truth is that
there are so many uses of these two tracks types
that I'm going to show you later in a
dedicated section, right? And though the tracks
for now, you can ignore. These are kind of more
utility type tracks. You know, they are kind of self explanatory
the marker truck, we're going to use for
sure, the folder as well. We're definitely gonna explore these in more detail,
if necessary, but the truth is that most people just use
these two main tracks. No wonder these are
placed at the top. You know, it's exactly
the reason why they are arranged for the most use
to at least use, you know. All you need to know Knell
about all the type of tracks.
10. Installing External Plugins: And Sometimes the
internal plug ins of base or innuendo may not
be enough for what you need, or simply you may
accidentally discover cool plug ins simply by hearing people talking about those on
YouTube or wherever, right? Or you may need to install those for academic
reasons, right? So, regardless of
what is the reason, you should install
these plugins, right? So there are two main ways. You may have the installer.
So that's the first case. This case we are
here on Windows, and it looks like
this is going to be X file or a DMG if
you are on Mac, okay? And in that case, it is
the easiest ideal case because you don't
need to do anything. You just simply
double click it like this and it's going to
open some weird interface. And as you can see,
it's going to install the VST format and also the AAXFmat in
case you use ProTools, which is a different
program, alright? And, yeah, so just skip to
scip in that case, I agree. Funny enough, the
same company that created Kebase is
also the same company that created the login format for all the plugins
in existence. Alright. As you can see,
there are three choices. If we have VST 32 bit, then VST 64 bit, and finally VST three. So, in theory, the most stable and compatible as
possible is VST three. Alright. But for some reason, if for some reason, VST three doesn't appear in your effects list
after this choice, simply enable DST 64 or 32. But these two may not appear at all in the newest versions
of innuendo or Qs. Alright, now, let's just keep
all these three enabled. Let's just skip and confirm. A SCNT is going to place
everything in the right folder. Automatically, we don't
need to do anything, okay? And then simply
confirm, and that's it. Okay. In that case, in this case I'm not
going to confirm because I already have this
plugin installed. Alright? The second way to install plug ins is
to place manually a file into the right
folder so that Q base will, we should recognize
it when you started. Alright? So for this example, we're going to have a
second plug in here. So let me just unpack the zip file, first
of all, extract. Alright. So we go here and SeconT gives
us multiple options. Let's go with the most
stable one, VST three. We have the raw VST
three file, right? That's what it looks like. The VSD two files instead, are going to have
a DLL extension. Let me show you here. You see DLL. So these are
VST 64 or 32 bit files. Alright? So these are kind
of older formats of plugins, which is why they may not appear anymore in
newest versions. Alright. The folder
where you need to place this depends on whether
you use Windows or Mac. Alright. So if you use Windows, you should go to the C Drive, then go to Program Files. And then go to
common files here. And finally, as you can
see, we have two folders, VSC two, VSC three. If you don't see any
of these two folders, it means that you simply
have to create those. So just create those exactly as they look like here, right? And then just place the
files into any of these two. So if it's a DLL, place inside VSC if it's a VST three,
place it inside here. So now I'm going to paste the file into VST three.
And here, here is. So I just paste it
here, and now I can simply start Cubs or
innuendo. So let's do it. When you start the program, you may see already
the name of the plugin appear very fast on the
overlay of the program. Or if you didn't catch it, don't worry. Simply start. Even without starting
any project, you can simply already
open the mixer console. So we press every three and double check if the
plugin appeared. So you go here to inserts. And search the plugin. So, this case is RNN noise. Wow, we have it. Alright.
Alright. As you can see, I have both the DLL and the
VST three versions installed. To recognize which
one is VST three, you can see that
there is a three. There are three slashes
on the VST three version. In short, if you have this
option here, use VST three. It's always the most stable. It's going to work fine, and it's going to
use the CPU better. Alright. So let's open, listen, and then just open it. Just double check if it doesn't
make the program crash. You know, if it's stable, it means that works,
and that's fine. You know, in case just
try other format. But in most cases,
VST three is going to create zero issues.
That's the truth, right? And also, since we're here, let's also double check
the other plug in OTT. So these are two plugins that I will probably use
during the course. So make sure that you
have these two installed, so you can start to
play with those. Alright, I'm going to explain
this later way later, probably in the side
quests of this course where how these two plugins
work specifically, right? And, yeah, seems like
this works perfectly. And, yeah, that's it. That's it. When you install new plugins, make sure that you restart the
program so that the folder those folders gets kind of re scanned
automatically, alright? You can, in theory, rescan those manually without
closing the program, but that's gonna cost you more
time because it's going to rescan every single plugin
from scratch, alright? But in case you need to do that, you just know that you
can do it from here. Go to studio VST
plug in manager, and here is going to show you the full list of things that
we have available already, already here and here. And then simply press this
nine button here. Rescan all. So when you press
this is going to rescan everything from scratch, which is going to
take longer, alright? Especially if you
have many plug ins. So don't do that. So simply open the program from scratch, so close it and reopen, and that will simply find
only the new things. Okay? Sometimes the
VST three version of a plugin doesn't exist. So in that case, don't worry. First of all, try to go to
the plug in manager studio, VSD plugin manager, and check if you have
this option here, enable VST two plugins, right? And then just
restart the program. Make sure that the plugins
are in right folder, right? And if everything goes well, already by enabling
this chat box, you will already be able to use the DLL version of the
old plugin, alright? But sometimes you
may be dealing with a very old DLL that is 32 bit, which which has a very
low compatibility with these new
softwares, alright? Don't worry. There is
a way to still bring those old plugins back to glory by using some
kind of bridge. That's how it's
called. When you use a special plugin
that will act as a bridge to make these old
plug ins compatible. Alright? So you have in front
of you two options. The first one is
called J bridge. Mentally, you go to this
website and you simply download the free version of the paid version of
this plugin, right? So you go here, just upload it. I think that also
if you have Mac, that's fantastic, right?
So you can use this. And when you open this program, the way it works is
that you can create a 64 bit version of
the 32 bit, right? So hopefully Q base
is able to detect it. You know, that's the point.
So this is how it looks like. You simply open
this program here, and you say, Okay, I'm
going to use a 64. A bit toss, right? And then it's going
to ask you, okay, select the original
plug in, right? And then select where the 64 bit version of the plugin is going
to be, you know? So simply place the old
plug in somewhere else. So just place it
somewhere else, you know? And then make sure that
the target directory is going to be exactly the VST. You folder that I showed
you elder, right? And, yeah, if you do everything
right, it will work. So it will simply
require you to reboot Cubase and it will detect the 64 bit version of
the plug in, right? So that's the per solution. If even this doesn't work, you need to use even more premium software called patchwork. And this
is how it looks like. This unfortunately is not a free plug in,
but it's amazing. It's kind of a more
definitive solution because it's also kind of
a premium plug in, right? So it also has a free demo version in case you want to
try it out, right? So you can test if it actually makes your old plug in openable. This is how it looks
like. Let me show you. The way it works is
you simply open. Click on an empty slots here. And load ST or VST three. So in this case, it's
going to be used to make a old plug in openable. So we go here VST and
go to the right folder. For example, I suppose the OTT was not openable by default, so we're going to use it this
way. And, yeah, that's it. It just makes it just uses
this special plug in as a bridge to make your old ferret plugin still
compatible with new DOS. And that's it. You
know, Gvantage of this is gonna give you
some extra controls. Obviously, you know, it has some extra you can kind
of, in theory, build an entire chain of effects just simply with this plug
in, which is crazy, right? And what I like the
most about this is that it gives you a
mixed control, right? So, fundamentally, some plug ins that normally don't
have the mixed control, you have that control,
thank you to this, right? And so these already these
solutions we can use what we want and yeah, and
you can have fun. Finally, if you
wonder if there's a free place where you find amazing free open
source plugins, you can simply go to
plug ins for free. So here, you just
go to the webpage. These plugins are all
free, they're all clean. You simply go to wherever category you apply and you need. So for example, suppose that
we want some synthesizer. So for ofi so we go
here sin LoPi navigate, you know, just don't get
miscoded by the interface. Obviously, these are kind
of indie plugins, right? So their interfaces are simply very basic, most
of the time, right? But they usually sound amazing. And you can simply
preview how they sound by going into the
page of the plugin. This looks very promising.
So let's go she. And yeah, so we scroll down. As you can see it
looks pretty clean. So we go here and just as you
can see is an old format. So you may need to use the
bridge to make it compatible, but it looks good. So let's see if we
can also hear how it sounds like before
even downloading it. Alright, cool. It's got a
tiny cold sinth, you know? That's pretty cute.
Oh, this guys in QBs, huh? That's a nice coincidence. Right? Yeah, it's kind
of a tiny tiny kids kids toy type scene,
you know, right? It's pretty cool, you
know? You may use it for, again, low fight? That's
exactly the purpose. Yeah. It works. So, so just have fun with
all this stuff, alright?
11. Record Audio: And the Alright, so in order
to be able to record audio, we need to first connect one of the physical inputs
in Hubs, right? As you can see, we're
not connected right now. So we can simply click
here or press ap four. And, right, so as you
can see, right now, we are on the input list, and there is a stereo end bus. This allows us to use two physical inputs of your
audio card at the same time. In this case, we don't need. We need a mono input
because we're going to record from a single
physical mic, right? So we need to delete this. We don't need us. And instead, right click New bus Mono. So this is kind of the most
common case, you know, so you create a mono input
and just link your driver. And finally, use one of your physical inputs
available, right? So these are lily holes in
my car right now, you know? So as you can see,
I have two inputs. I'm going to use
number two, actually, because my cable is linked to the number second second input. And now it is rigged. So we can simply now
escape this window. In case you don't see these
options on your side, if you're just using
the laptop card, it's possible that you don't
have physical inputs, right? So it's possible that you don't have any available devices, so you need to purchase
external audio card. Or maybe you don't
have the right driver, so you just return to
the previous section where I explain the
optimization, right? Go to the driver setup, make sure that you use
the right driver, right? And then also make sure that you the list of your actual inputs. And yeah, so just make troubleshoot die in
case you have that issues. But normally, if you followed what I told you
before this point, you should be set
up correctly, okay? So now that we're here, we have one input
connected correctly, and that is going to be also the default when I
create audio tracks. So we're going to,
as you can see, we can set this as a
default, and let's do it. So we create a
empty audio track. Okay. And we're going
to choose the input. So we go here. So we're gonna choose one that we
just created, Mono in. Alright? So you know what? Let's actually rename the
input simply condenser. So in this case, this is a physical condenser
mic that I'm using. So it makes sense you call it condenser, so we
know what it is. Alright. That way, we
to create a new track. We already, tell me, okay. One of the physical
inputs that we have available is condenser.
So let's use that. And then make sure
that it's always a stereo track and goes to the stereo out of the
mixer, and that's it. So let's call this simply voice one and then confirm
Alright, okay? You see what is happening?
Now what I talk. I can really see the
monitoring going on. So that's the actual signal
going through my mic, going through the cable
inside my audio card, and then it goes
into QBse, right? So I can see the signal right
now in real time, right? So yeah, so now, so if you don't see
this thing moving, it means that you probably
skipped my setup section. So this is possible
thanks to the monitoring, which is this button here. This allows you to monitor the real time signal
going through cubse. Sometimes some audio cards
have a physical knob to actually monitor the signal straight from the card itself. Oh, yeah, so just see you study your card in case
you have that feature. When you see this moving, means that everything
is working. And so, yeah, just
regulate the game, the knob of the game, you know, signal in your card in
order to avoid clipping, because if I talk too close, there's gonna be as you
can see, destroyed, right? So we need to avoid that
terrible distortire, right? But usually keep the knob
around 50%, you know, 50% and maybe slightly
higher, maybe 60, 70 if you're gonna say um, on medium intensity, right? Or if you're going to whisper, go to 80, 90% of
gain in your knob. Before we start, let's click on this gear button here and just
enable the transport bar. This is going to help
you understand better. The first time you start to record what is happening, right? We can also see some things that normally you can
trigger with F two. But, you know, when you're
a kind of beginner, this can kind of
help you understand better what is happening, right? Let's keep that there. And we have the metronome, make
sure that it's off. And then let's press
Shift S to double check that we have the flag
file enabled, 24 bit. And actually, you're
probably wondering when to use 44 versus 48. So 44 is the standard for music. 48 is for video, okay? So, in this case, we're
gonna make a song, so let's keep it 44. Okay? And just change
it once and forever. Just keep it there,
and that's it. So just confirm. Wait a couple seconds,
and that's it. Alright. Okay, now we're ready. And yeah, let's go. So we
just press the asterix. As you can see is Stern
he record, prime. And yeah, this is
our first recording. Who. Let's see. Let's listen. You as you can see is
Stern he record, prime. And yeah, this is our
first recording. Whoo. Okay. You probably notice that I'm
not using the monitoring, but just because in
my case, right now, I have a I'm monitoring my
voice in a different way, you know, outside
of QBse, right? So, in your case, obviously, keep this on in case you don't have other options to
monitor your voice, right? In case this gives you issues, you can disable the monitoring and make it become completely manual by going back
to the preferences as I showed you in the
setup section, right? So in this case, let's
keep it that way, and alright, that's
our first recording. First of all, first issue, we don't have any
metronm, right? So let's set up the metro speed. So every song works
with the BPM, right? So it goes like
this. Two, three, four, one, two, three, four. Alright? So we can change the speed of the matron
by going down here. Let me show you. You
see this number here, that's the speed of the song. Right now, it's
120 BPM, alright? Okay. So if I use the wheel, I can increase this
number, as you can see it goes faster. Okay. And simply, this is
a creative choice. So choose the right BPM for the song that you
need to do, right? So simply do some experiments and then choose the right BPM. In this case, let's go
kind of a little faster, maybe one, 28, like this. Okay, one, two,
three, four, alright? And you can enable
you can also tweak the volume of the matron
by going into this button here and then go to click sound and then decrease
audio click level here. And it's gonna become
quit, alright? So if you confirm, see that
now is quieter, that's it. You can also tweak it
while you play it. Alright? Let's keep
it max. In this case. Okay. So here you can tweak
all the aspects of the sound. You can create custom
patterns, right? You can go very advanced
for the matron, but let's keep a default,
and that's it, okay. Alright, so in this case, yeah, let's keep the matron playing. And I'm going to now record
some actual musical sequence, keeping the matronme
time, alright? Let's see. Alright, okay, Let's
see. To record, if you don't like using
Asterisk to record, you can also simply press
this button here, right? So that's the same thing. You can also notice
that right now, I have a pre count enabled. So if you that usually is helpful because it gives
you some time to kind of get in the right pose and
then ready to actually attack on time with a beat
at the actual beginning. Otherwise, it's going to start kind of a little more
randomly, right? We don't want that. So to enable the pre count, you simply expand more options here on the matronom like this. Just to drag this sly
to the right like this, by the three dots,
and as you can see, we have this button here,
and that's the precunt. So we enable this,
and now it's going to count 1 bar or 2 bars. You can choose how many from
the settings of the matronm. Or no pre count and will instantly record from the
spot where you are on. So we can keep this here.
See what's happening? Alright. And the spot
where the recording will start on is gonna be
dictated by the locator, this thing here, right? So you can choose
the locator loop by using the mouse
like this, alright? And then you can move it. And that way, when
you press record, it's going to automatically start from the left
locator, you know? So actually, you need to copy my settings so to have this
exact optimized behavior. So you need to go all the
way down here to the left. Alright, and then just press
the record button first, and then copy exactly my
settings, pause the video. Okay. Then do the same thing for this icon here,
click and copy. And finally, do the same
thing for the medi. So we have all these things set up in one place and
forever. Alright. And right, so now
regardless of where we are, we can simply press record. Also, for example, if I
don't like this performance, I can repress the record button, and it's going to
delete the previous. It's going to scrap
the previous take. And it's recording
already new one, as you can see, right? Or another thing that
we can do is to enable the loop by pressing the
slash button like this. Or you can press
this button here. As you can see, the locator
changes color, right? And that means that we
can keep it recording infinitely into Daldut and it's going to accumulate
all the takes, right? So when with the take finishes, it's going to restart recording
a new take from Dalot, so we can kind of
stay in the flow and make many takes
at once, alright? All right. And yeah, and as you can see, we have started you have many
takes accumulated at once, then you can start
to simply split those in different
lanes like this. Or if you are on
Cubase Pro or above, you can simply enable the lanes. So you can simply press
this button here. And show the actual
take separated array already as kind of sub lanes, you know, without having to duplicate the tracks
too many times, right? And then you can simply isolate specific parts of
every take, you know? So it's going to give
you very high freedom. Some audio cards have a special ability
called loop Loopback. So loopback is the ability to record the internal
audio of your system. So you can really
play a YouTube video, for example, and while the
video plays on your browser, you can simply record
the audio back as if it was a signal going into
your audio card, right? So you can sample
stuff on the spot. Thanks to that ability. So this is called Loopback.
Let me spell that. And this is not an ability
that all the audio cards have. Only the more expensive usually
have this ability, right? So, unfortunately, you need to double check your
specific card Um, if you have this
ability, alright? So, in my case, I do have
this feature on my card. So usually it's simply
a checkbox that enable. So you go on your specific
audio card, software, alright. In my case, I need to
check that on from here. And now I can simply play a video that I have on
YouTube, see what happens. Little things that happen in the rest of the entire phone. You see what's happening? I don't have the
ability to triple. Sometimes you get
20% lifts, 15%. Right now, I'm just
playing a video from YouTube, and that video, even though I didn't
do anything else, is already going into my driver and entering
into QBs when I record. So let's see if that's true. Lift. There'll be a
monster split test. But a banger or killer
headline can absolutely. You see what is
happening? That's it. So and then you can simply remix on the spot where you
record it straight. You know, so we can simply place it on time, you know, here. Let me show you. Sure. Spit tat. But a banger or
killer? That's it. And then we can explain
I'm going to show you later how to remix stuff. You know, we can have
some fun like this, and then you can do whatever
you want, you know, in case you're building a
song completely from scratch, you need to record the very first instrument or vocal track or
instrument track, obviously, and then
build from there. Start to later, start
to duplicate the track, build something on
top of that, right? And then start to
dulate the volume of the previous tracks
like this, you know, or in case you have
a pre existing beat, you simply drag in the
music track here on top, set the right BPM, right? And then simply I'm going
to explain later how to gather the BPM of a song when
you don't know that, right? And then simply
create a track on top and start to record
on top of that beat. Okay? Make sure that
the volume of the bass, the other tracks
are low enough so that they don't re enter
into the mic, right? But yeah, so just
with these things, you can really start
to record music from real life using mics and cables.
12. Record Midi Instruments: Alright, so now that you
know how to record audio, let me show you
how to do the same thing for instruments, right? So simply right click here. And at instrument track. And here, you're going to have fundamentally
two main choices. Helen Sonic is the container for the instruments themselves. You know, you can
find here pianos, orchestral sounds,
synthesizer basses, flutes. Wherever you can have in mind, you can search inside
this single instrument. You know, it's kind of a multi instrument container, you know? For the drums, instead, you you search group
agent, this guy here. Alright, so you're
going to have for sure, these two main
choices on your side. And then obviously, you go to install external
plug ins, right? One of the best ones is
called contact, you know, and fundamentally already with these two Halon
Sonic group agent, you can do what we
want, you know? And also, we have kind
of two sub choices. We have the sampler track
and the drum track. But if you're just starting out, just work with it at
the beginning, okay? And then for now, let's
just give an A introduce. For example, let's
go this melody. Alright, and confirm. Alright, and it's going to open the interface of this, okay? Suppose that you want to
change the instrument without creating a new track
after you have created already the vein, right? To do that, the best way is to simply click here where you see the name of
the instrument here? And then that way, it reopens the list of the
available instruments. Alright? On versions
of nuendo or cubse, this works slide differently. Other than this button here, you also have simply one inspector that contains
everything at once, and you can change
the instrument simply from this
button here as well. Alright? So if you
have this option, just click here as well
in case you want to change the instrument without having to create new tracks, and just select the older
instrument that you need. So, for example, here we have a eight bits video game
style synthesizer. And if you have an
external controller, just make sure that you plug
it in using the USB, right? Wait a couple seconds, and Kebase will
automatically recognize it. And you can verify that by the fact that if you
press some keys, it will obviously work. Alright. You know, you
see that it's working. Right now I have external
keyboard next to me, so when I press keyboards, I can play performances, right? And then you can simply
reopen the interface of the instrument to kind of
customize what happens. So using this button
here, the keyboard button or this button
here in case you have it. And again, let's
change the instrument, for example, to drums. So we go here with
search Good agent. And then just choose one of the presets from here,
click this button here. And so you just select one
of the presets from here. In this case doesn't matter.
Let's go for this one here, the BklkO just want to click way that loads
all the samples. And when we click the keys,
see what's happening. So as you here, hold
the drums, right? Alright. Okay, let's go back
to some melodic things. So let's go here, Helen. Yeah, let's record something
just to try this out. So let's go here. For example, we have now by
default, I have this. We have an electric guitar, but let's suppose that we
want, for example, a piano. So we go here, type
what you need, and we'll give you
multiple options. That's it. So you
can simply try out different ones without closing this interface by
simply clicking once. Wait a couple seconds,
as you can see, load up the instrument, and then see what is happening? And then we can change
by using up and down, or, again, click
on different ones. See what's happening? And then, yeah, let's change, for example, to a pizzicato. Alright. Boom, click. That's it. See what's happening. And yeah, so what about a flute? Okay, Ethnic flute
is interesting? Alright. And yeah, let's
go with something weirder. For example, a base, Synth can see it's
very fast, super fast. Let's go here Synth base, too. Let's see what this does. Mm hmm. Alright. And yeah,
so, and that's it. So for example, let's start
with this. Let's go here. Let's keep. So when you find something that is,
it's useful for you. You just confirm you
exit this weird window. And let me tell you that there are some quick controls
that allow you to change the properties of that specific sound
that you selected by changing the knob,
it's here, right? So the Haloon sound gives you quick controls for
that specific sound. And each one is kind
of self explanatory. You know, you kind of
increase the attack, make it more darker. E, et cetera, right? And then you can
start your record. Procedure to record is the
same exact as the audio. So if you follow
the audio section, no, this point, we know this. So we can start your
record. Let's use a BPM. Let's go here. Yeah,
so yeah, let's see. Let's make some slower BPM. Alright. This seems
fast enough. Let's see. All right. And then just stop and then.
Let's make a second track. For example, we duplicate using just right
click duplicate. And then on the second
one, we delete this part, and then we change
to a group agent. Alright, and here we're going to do we're going to make a loop. So we actually press the
previous performance here, and then we press P. So we
make a loop i produced. Remember that you can make
this lash to enable the loop. And then while this plays, we can set to choose
the drums, right? We'll see, let's click here. For all the drums in existence, there is always the
standard to place the kick drum on a specific
note on your keyboard. So usually, as you can see here, on C one, we have, in fact, the kick drum, right? So here, let me click here. You see what is
happening? And also, the snare is on the E E one. C1e1 is a standard for all the drum
machines in existence. So usually you find those
pieces of drum there, and also you will kind of find the same kind of the high hats in the same place in the
same note every time. So this kind of to make stuff easier when you try out
different kits, right? So, for example.
Okay, let's see. Let's stretch you now I'm gonna I'm gonna try out
different pieces. I evaluate if I like it. And then when I like it, I just exit this weird window. Okay, and then we record. Oh, sorry. I just you
mean to set the track? Obviously, here, let's
rename it drums. Oh, Dru Drumans.
That's interesting. Like a album titled
Drums AlrNCLs record. Okay, let's see. Alright. And then if you feel excited, you can start to put
up some vocals on top of this so we make
a nice audio track. Let's call this vocal one. First of all, in performance
was slightly off time, so we can simply double
click on each performance, and we press Q to align these the key strokes fundamentally are more to the
beats, you know, like this. The more you press Q, the
more they will go on time. To do this process, you
initially enable this key here. This button here
called soft quantiz. Alright? So instead of instantly snapping everything
perfectly to the grid, they will progressively go
through the grid, alright? And then we do the same thing on the drums like this,
right? And let's. Boom. Okay. We exit, and then let's go
back to the voice. So on the voice, let's
see what we can do. First before we do that, let's make the drums more rhythmic. And also, let's make
the beat slower. So F two and reduce the BPM. Alright. See if we can use the
sustained pedal on the Male. Alright. See what I'm doing. Okay. Let's make this
base a little more aggressive using
one free effect. I'm going to show you later
how to choose. Let's here. Okay, let's go to the grados. Hey. I'm gonna add new
pieces to the drums, right? Alright, okay. And we can enable the lanes
as I showed you with the audio and let's with this new part on time
as well, like this. And we can regulate the volume, obviously every single
piece of the drums by going back to the interface
of the group agent. We select that piece. See here? The eh
open and closed. I can select that piece and then tweak every single aspect I want of that specific piece. In this case, let's reduce
the volume a little bit. As let's make it a little
shorter. Let's go here. Okay, let's apply the maximizer,
as I showed you earlier. Alright. I got to explain later
in detail what this does. B Okay. And finally,
let's add some voice. For example, let's see. Mm. Mm hm. The volume was a
little low solo, increased by selecting our clip and increase the
volume from here. Alright, and also the fader. Maybe it's a little low,
let's see. Oh, yeah. All right. If you
make the fader, go instantly back to zero, you can command click
or Control click it, and we'll instantly jump
back to the default. Okay, now pro is probably
going to be very high. Alright. Mmm. Alright, let's
make it a little more spicy. You know, just to show
you a little bit how quickly then you can start
to build entire tracks, starting from one piece
at a time and combining all these things we're putting together in this course,
right? That's the point.
13. Audio Editing In Timeline: So let me start to show you the most important
things that you need to know in order to edit audio in the
timeline, alright? So as you can see right now, we have simply two tracks, we have the drums
and the guitar. Alright, and then,
as you can see, we have one voice track where I recorded a simple thing on spot, and right now it's muted, which is why we don't hear it. Alright? These two buttons are extremely important because
when you mute something, it's as if you put the fader
down to minus infinite. So you can simply temporally mute something simply
with the M button, or if you press S,
it's the opposite. It's gonna solo only
that track instantly. So let's see what is happening
with everything like this. Alright. Alright, so for example, we need to trim the trucks so you can trim a audio track by grabbing it from its end or from its
beginning, obviously. So you can use only that
part of that track, right? Then you can duplicate
on that part by pressing Command D or
Control D, like this, right? And then you can arrange the
duplicates simply on time, so select everything and then
snap beginning like this. Alright. Let's go back. Let's go back. And then, for example, you can do a chop by pressing Alt B holding Alt
and as you can see, you will temporarily
go to the scissor tool and then click. Boom. Alright, and
then as you can see, this note it slightly off time. So in order to rotate
the content of a track without
moving it like this, you can simply hold
Control and hold. And as you can see, you
see this button here, and this allows you to rotate the content of
the track slightly. Alright? So now these shoe nodes should be better on
time, let's see. Whoo. Alright, you know. Then next fade.
You can fade out, fade in by simply using
the mouse on the top, left or right
corner of any clip, and it will
automatically do a fade. Do you see what's happening
like this, right? We can do a batch fade by selecting multiple clips
and simply do this. Alright? Let me show you we can have some fade in fade
out like this, you know? Alright. And then you'll probably
wonder if there's a way to change the
snapping mode, right? So sometimes you need to snap a track at the
beginning of the bar, here, here, here, or here, but sometimes you need a
more precise snapping. Maybe you need to snap on
the actual single bit, you know, here, here,
here, here, right? So to change these
snapping rules, you need to select that from
here, Grid type. Alright. So here you just select, and we have two main choices
bar versus beat. Okay? So 1 bar is fundamentally the
combination of four bits, you know, one, two, three, four, together for 1 bar. Alright, in case you
need that precision, enable beat, otherwise,
stay on bar by default. AsmT now jumps straight
entire bars, you know? Then sometimes you need custom
subdivisions of the grade. So in that case,
enable use quantize. And then when you go here
on quantize presets, you can simply choose
your custom grade, right? You can go even more
precise with 16th, 32, and fundamentally now, let me show you. You
see what is happening? When we move it, it
kind of snaps into even more granular subdivisions. But most people in most genres don't use that
high level of precision. You mostly are fine
with one eighth, one fourth, and lower
than that, you know? So, also, you can
override this at any time by simply going
back to either bar or beat. Alright, so in this case,
let's go back to bar. And let's sea a
different fade, alright? We can also change the
volume of the gain of the clip simply by
rotating the wheel here, and we'll change the volume of that specific chop, you know? Let's duplicate, Const see. Alright. And for example, twos that we want you to beat so we can loop the
last note like this. Alright, let's see. You know, and then you can
duplicate these together. Control D again. Let's see. As you can see, the second
cycle goes slightly off time because probably it's not
perfectly symmetrical. So let's go zoom in. Alright, so in case it
goes slightly off time, maybe there's some
standard issue. So double check that before
duplicating the stuff, here, the actual last loop is exactly ending at the
beginning of the new cycle. So here, make sure that it actually ends here and
there is no extra space. Otherwise, if there's
any extra space, when you control D, it will actually shift all this off and it will go
off time, you know. So be careful about that. Sometimes you need
to temporarily bypass the snapping because maybe you need to arrange
a clip on purpose of time. You know, maybe this chop here, maybe you want to
put it slightly off time like this or like this. So to do this, instead of disabling the snapping
altogether from here, we can simply keep
this always on and instead simply hold control
when you move a truck, so it will allow
you to temporally bypass the snapping and go kind of free hand
mode, you know? When you move it in the next
bar, so let me show you. Now, if we go to bar mode, we move this to the next bar. You see what happens? We lose the custom offsets
that we did, right? So to preserve that
kind of stuff, we need to enable a special
type of snapping here. Relative grid here. Alright? So when you
press this and you shift, a clip normally has
a custom offset. It will preserve it. Whoo.
You see what's happening? So it will go to the next bar, but it will also preserve
that custom chef that we did. Alright, boom, boom, boom. Okay. And here is
where, in fact, you can change the
actual main rule of the snapping itself. So most people when
they make music, they need to use grid or grid relative. That's it. You know? What in special projects, especially non musical things, for example, sound design
projects, you know, when you have a video and
you need to make sound, you may need to use
more frequently instead event,
shuffle and cursor. You know, more precisely, you need to use mostly
event and cursor. You know, these are
extremely useful because they can
allow you to snap and event to the actual event that you have in the
timeline, right? Shuffle is pretty fun because
you only really need when you need to reduce kind of eliminate the gaps between
multiple tracks at once. Normally, what this does is, you kind of select
multiple chops like this. And when you move,
it will kind of arrange those clips in
random order, right? But there is a secret
utility about this tool, which is to eliminate the gaps. So let's suppose that
we have multiple tracks like this, you know, and on a quick way, you kind of close all
these tracks, you know, kind of kind of shift
all them to the left, removing all the
gaps at once, right? So to do that, you
can slack all them, you're able to shuffle mode and just grab the last
one on the right right. Boom. You see what happened? They go automatically
all to the left, and they close all the gaps. Alright. Another way to loop a specific chop is you go here
on the middle right here. This square here is
actually a loop button. So if you drag this button slowly to the
right, see what happens? It tells you, Okay,
how many times do you want to repeat
this? Alright. And we'll do that. Wow.
You see what happens? So it's kind of the
equivalent to kind of select taking the clip
and then control D, right, or dragging with ls, you know, As drag drag also duplicates
throught like this, you know, so it's
your choice to choose which method you like
more to duplicate. Remember that, even if you
chop away stuff from AT, all the material is still there. So you can re extend the
take at any time like this, and all the original
take material is still there, as
you can see, right? So let me show you
one more trick. You probably have the tool
bar visible somewhere. It's going to probably
be visible down here if you enable to
transport the bar, you know, like this, right? Or you're going to see
the tools up here. So let me see if I can
make those visible. I think it is this guy here, tool buttons. Alright.
Okay, here is. So the Sisal tools hide a
very interesting trick. So let's suppose that
you want to chop an entire take at
regular intervals. You want to make it chop
every beat, for example. So you can enable the beat mode, first of all, came here, beat. Right? And then go exactly where you want
to start the chops. So in this case, just
on the first beat after that first beat here. And then if you hold all
before clicking, it will poof. You see what
happens? I just made a chart every bit
automatically, right? All of a sudden. And
then you can sort arrange these things
where you want, maybe with a shuffle mode, wherever you can
have fun like this, and then you can rearrange
these tracks in random order, so we can do this and
just shift these tracks. Yeah, for example, we
can shift this here, and they will kind of
shuffle the order of each, you know, in a fun
way, like those, like those, and that's it. You know, you know,
that's just an idea. Assuming as when you
become more advanced, you will literally hide all the things that
you don't use. You don't need really, you know, all the tool bars here. At a certain point, you can
hide it completely, you know, because these tools
can be called by simply pressing the
numbers on your keyboard, you know, one, two, three, four, five, and so
on, so on, right? So the most important
ones are obviously the normal cursor
here, which has, as you can see, sub types, has the main cursor
for selection. Then we have this kind of niche, you know, nobody ever uses
it, so just ignore it. The third type is very useful because it's
a stretch mode. Allows it to compress
a performance to make it become instantly
quicker or faster. You know, or slower, obviously, if you stretch it out
like this, right? And the third type, that's it. So simply use the stretch mode or normal cursor, you know. Then we have the
range selecture which is immediately a
little more kind of a little more
advanced to use. So again, nobody
ever uses it really, you know, unless you
become very advanced. The scissor tools, can
be useful sometimes, but you can kind of do the
same thing simply by going to the cursor like
this and using Alt. And the scissors is kind of really useful only
if you need to use the track I just showed you, you know, with instant regular chopping in a
long track, you know. But a tool that is very
useful is the glue tool here. So in case you have a chop and you kind of say,
Okay, you know what? Actually, I want the track
to return a single piece, so you can press four and then click like this and what kind
of glue that actually at, you know, and also
the mute track. So well, let's suppose
that I want you to mute specific parts of a chop. For example, here, we want
you mute the last part. Instead of bleeding it, we
can actually simply mute it. So we press seven and
then click that chop. And now we will stay there, but it's disabled fundamentally. You know? And so, yeah, the other tools are even more niche.
Nobody ever use those. So I already showed
you that if you want, you can increase the volume
of that chop by increasing its local volume like
this, right, with a wheel. Or you can also
normalize the track. So normalizing means that we cannot tell this track,
Okay, you know what? Increase your entire gain until you reach your theoretical
max just before you distort. So kind of make this track become as big as
this automatically. So to do that, we can simply go to select the shop that
you need to apply this to. So in this case, for example, all actually the
entire thing, so this. And then we go to audio. Process and then normalize here. All right. And just make sure that
you enable all to apply, and just maximum P clap
will need to be on zero. And this will automatically
apply this stuff here. You still have it made the
tracks to become giant. So now the volume is
gonna be way higher, which is why maybe it's very if you decrease the volume
lit bit here on the fader. You know? So that's the way
you kind of have super high volume without
having to use too much fader, you know, and without increasing the volume
here too much. And this menu here
is pretty fun. So I recommend exploring
this a little bit when you select the chop and you go through processes here. These these things
can be very fun, but especially the
pitch shift that changes speed can be very
useful in some cases. But one of the most important
ones is the reverse. So we can reverse one of
these chops independently, so we can simply press revers. And RVD is gonna
play it on reverse. Let's go here, just duplicate. Let's see. Alright,
let's see what happens. So that's a fun effect
that you should discover secret
melodies in your music. It's amazing, alright? Then let's suppose
we want to kind of evaluate if maybe we want to make the music a little
faster or slower, right? So, in theory, we can really do it by simply pressing Ap two. Or, again, if you
have the transport bar enable down here, you can change the
BPM down here. So in my case, I'm kind of
you should do a two because I should keep the interface
as minimal as possible. So right now, as you can see, we are 121 BPM here. So if I make the music
slower or faster, alright, let me show
you what happens. Gets messed up, right? So, what happens right
now is that the voice is not becoming
faster with my BPM, whereas the Mideast parts are already doing that
automatically. So let me show you the music
is already faster as I want. One, two, three, four, five, six, seven, eight. Alright. So in the
case of media, as you can see this
issue, it's non existent. You can siche the BPM wherever
you want at any time. With the audio, it's
slightly different. You need to make
the audio respond, react to the changes
of BPM, as well, you need to enable the
so called musical mode. Alright. So, but we need to first kind of tell
QBs to interpret these chops as one
single chop that is exactly 4 bars long
in this case, okay? So to do that, we
simply make sure that these chops are
very symmetrical. So as you can see, the chop is ending exactly here at
the end of the four bar. That's where we need
in this case, okay? And in case you have base Pro,
we can make a new version. So that way, we
can easily go back to the individual tracks
at any point, right? So to do that, we simply go here on the
name of the track, click this little arrow
and duplicate like this. Alright, so now
we can do what we want only on this version
of the track, okay? So at this point, we
select the four chops, and we go to audio and
then bounce selection. Alright? So this
fundamentally kind of pre renders these four
chocks as one thing. Okay, let's do it.
Boom. And then replace. Alright, so now, as
you can see, it's one, and this allows us to use the musical mode
in the right way. So we enable this hock
box here, musical. Okay. And now what happens
is that when a track has a musical
mode enabled, fundamentally, it
becomes like medi, so it reacts to changes of BPM. So let's see if that's true. Okay, now we are
ways lower 90 BPM. Let's just play here.
Let's adjust the loop. Alright, let's see. Ooh.
It's working, right? Alright, or faster, right? So we can go here faster, and let's see what is happening. Let's go to 140, 150. Let's see. Ot. Hot. Alright, Brian. That's the advantage
of musical mode. This is especially powerful wind when you're not entirely sure
which BPM you want to use, or if your song has some
dynamic BPM sections, right? So where you want you slow
down or accelerate, right? While repeating the same chop, it can be a very it's
kind of an advanced case, but sometimes I can
grant you that you will need the musical mode
on your chops, alright? In case you don't have the
musical versions feature, simply duplicate
duplicate the track mute or disable the backup track, so simply duplicate
like this, right? So you have one as a backup
like this, so you disable it. So right click on the backup. And simply disable from here. So kind of churns
that off, you know, it doesn't use a CPU
and keep it there, you know, or you can hide
it. You know, like this. Hide. Okay. So it's kind of there in case
you need to recover it, you can re enable
like this, right? And here, we have the actual one that we can kind of
continue to process on or, you know, in a more
destructive way. Let's suppose that you have a recording that has
many micro silences, and you want to have a way
to automatically remove those so you can kind of
shrink the track more easily, you know, what do we need to do? So let me do a quick
recording, for example. Hey, Los. So this is kind
of beatbox track. As you can see, there are
so many micro silences that if I want, I can kind of detect
and remove, right? So especially also imagine that you have some tracks
where you kind of talk, right, long tracks, and you want to remove the
silences, the gaps. So to do that, we need to
instead of doing this manually, we simply select the
entire recording, right? Then you go to Audio advanced
and then detect silence. Okay. And then we have kind of a threshold that allows us to say,
Okay, you know what? Just detect the error is below that threshold will be
interpreted as a silence. Alright, so let's decrease this. Alright. Okay? And
let's we more. Okay? And then you
can regulate here, the pay times, you know, cheaper simplicity for now, let's keep it around 50, like those 50 milliseconds
and 50 milliseconds as well. Here, Okay. And then when we confirm? Oof. You see what it
did? It automatically removed all the parts where
the volume was so low, and that has been care
out from the recording. So let me show you how it
sounds like without that. Itty is also a way to remove the noise from
a recording, right? Or, again, the most
common use case is where you have a podcast, for example, or a
long talking track, and you want to remove
the silences more easily. And again, this again, one case where you can
use the shuffle trick to remove the gaps, right? So you can go here, shuffle, and then simply touch whatever
of these tracks like this, boom, and we'll immediately
put all them together, right? So this is especially
useful in case you have also a mix of many sounds, and there is a gap between
the sounds, right? And you can put all those
together very easily, so you can easily check
those one after the other. See what is happening?
There are so many uses of
14. Midi Editing + Piano Roll: The process to make
media recordings and playing instruments is pretty
much the same with audio. So make sure that you didn't
skip the audio section. And here we can just skip to
the most important parts. So first of all, right click,
obviously here, instrument. And let's choose
groove agent if you need to do drums or Halon Sonic. If you need to do melodis chords and play actual
instrumental right. Even though, let me tell you the Healon Sonic also
contains kits of drums, as well, so it's crazy, right? So let's stay here.
And let's call this, for example, melody
one and confirm. Alright. And here, for example, let's go with a
nice maybe a piano. Let's search a nice piano. Let's see what we have,
maybe a grand piano. Alright, let's go with
a classic acoustic. Let's see. Alright. Okay, so
let's go with this. Yeah, let's regulate a little bit what is happening
with the sound. Okay, so more bases. So more bases, some
more high frequencies. More emphasis, and right let's keep it this way and
confirm. All right close. Remember that you can
open multiple instruments at once by simply going here, select one of the
available lanes on the Halionsnic lectus and you can simply enable
additional instruments, for example, give you a
harp, let's go with a harp. Here. Lectus Okay, let's
go with a classic harp. I think is where hell is this
orchestra harp. Alright. And then make sure
that you go to Midi, give the same channel to the other lanes. Otherwise,
it will not play. So as you can see channel one, it's working for instrument one. Simply enable the same number. So now, your keyboard will play both instruments
at the same time. Let's see if that's true. Let me mute. You see what's happening? Let me mute
to the first one. Let's see. You see? So we can layer these
and regulated volume of both in the pently simply go to the mixer and just decrease the piano,
for example, like this. See what is happening? Maybe you might as well on the piano. Okay, let's boost the overall
volume, but from here, All right. Okay, so
let's play with this. So once you have set
up your instruments, simply exit this thing, let's record following the
same basic rules of the audio. So if you remember, we have set up everything already from here,
the transport bar. You know, just make
sure you didn't skip, again, the audio section. You already know. And
so let's use a BPM. For example, let me hide
this bar. Let's press F two. Let's make the BPM slower. Maybe let's see. Okay, let's stay with this. Alright, so let's go. Alright, so let's make
it a loop longer, otherwise it will reprise. It will kind of repeat
while I record, which is not gonna
be a good thing. So let's make it longer now like this so it
doesn't interfere. Alright, let's go let's go. All right. Okay, so and then we simply go
back here, O click, and we O click again to
just reduce the part, and let's see what is happening. Screaze the volume from here. So you see slightly off time. So let's see how
we can edit this. So the basic roles of editing are the same exact
as the audio, right? So we can trim, we can cut, we can do the same
exact thing that I showed you in the audio
section phono matter, alright? So then let's see. There are some specific
editing things that we can do all
over the media. For example, we have
the piano roll. Alright? What the hell
is the piano roll? Well, when you double click a clip like this with
the medi, go here. You know, we see the actual
nodes individually here. So these vertical bars are the dynamics of
every single node. It's called velocity, and
it's a value that goes 0-127. Alright? And, yeah, so and you can regulate
the intensity of every single node
by changing with a click. See what's happening? Or you can click the node specifically, and you
say, Okay, you know what? This note was too hard here. Let me make it quieter by using the mouse or
just do it from here. Velocity, as you can
see, is 110, 101. Let's reduce it with a wheel. Intelligent real
time. Okay, it's gonna sound like that, you know? And obviously, we
can age the length of every single node
like this, you know, we can duplicate CsolD,
Command D, like this, or copy and paste, you know, copy, paste here, here, here. But one of the most
important things is the quantization, right? So when we press the Q key, it will instantly snap
every single node to the closest grid
point fundamentally, making everything sound
all the time, you know? And the quantization rule grid depends on the
precision of the grid. You see here. Right
now it is one eighth. It means that. It
will for example, this note here is going to be snapped automatically
to this line here. This is going to be here,
this is going to snap here. You know, each one
is going to snap to the closest grid line
fondamentally, Let me show you. So now I'm going to
simply press once. Oh. Alright, see what
happened? Notice that the nose didn't snap
straight to the line, but only a little bit. To achieve this behavior, we need to enable the
soft quantization here. Sometimes the softwares call
this iterative quantization. It's the same thing, alright? So, and in case you need to be kind of fully
mathematical, we can simply disable all
this and simply press once. Mom. Woof. You see
what happened? Now it's exactly on
the theoretical time. So let me go here. Let's see. This CIs perfectly on
time, mathematically. Obviously, doing this eliminate the humanization of
the performance. But sometimes you may
need this, right? So, in case, let's go back and etseta actually just quantize
it. Just a little bit. So we enable soft and then cues. Alright. So it goes more on
time, but not perfectly. We just done on purpose. Okay? Alright. Sounds
interesting. Alright. Then we can tweak the
Zoom rules are the same, so we can press GH, to change the horizontal zoom or shift the GH to change the
vertical zoom like this. Alright? Okay. Yeah, all these things
here on the left, nobody almost never
uses these things, so you can completely
ignore this. So most of the things happen simply here in the piano
roll using the shortcuts. So you can simply
correct the notes, you know, simply change it with up and down
on the keyboard. You know, in case
you do wrong notes, you can tweak it, you know? Or you can change the octave of a note simply by pressing
shift up and down. So if I show you want this, you actually one octave up Boom. You see what's happening? Okay. And then what else? Oh, yeah, we can also snap to
the next beat to the next snapping point by simply selecting the node and then control left and right. See what's happening?
So this again, depends on the precision
that you select from here. So if we go one fourth, obviously, it's gonna snap to
the next fourth and tenth. Alright? To fully understand
these things about matrix, it's better if you have some basic sub theory
of music, right? So I already told you that
the music is based on fourth. So every bar is composed
by four or three beats, but not always and
as you can see, every beat can be subdivided into any type of subbat
that we want, right? So it can be kind of twice, four times, 16 times the
same precision like this. So, in case you want
to do multiple notes, you can go like this, 16 and we can reduce
the note like this, and then we snap it like this, and then we duplicate all
drag and then quantize, now he's gonna do four
nodes here, let's see. See what's happening. Let's loop all of
this, for example. You know that you can change
each can change each node. See what is happening? So you can create interesting
counterpoints. That's how it's called. It can make your
performances more interesting without having
to play those in real time. You can kind of change
it and enrich it after you play the main
performance manually, right? You can also manually place notes that
were not originally there by simply double clicking on any notes like this.
You see what's happening? And then obviously change
those, you know, regulate, make sure that they are they respect the root
tone of the song, so they're not out
of tune, you know? You know? You know, and then you do
if you use this method, be careful because every
single node, as you can see, is going to have exactly
the same velocity, which may end up making
your performance sounds a little a little
more flat, right? So there's a trick to
randomize automatically the velocity of these types of nodes by simply
selecting those, and then go to the midi
logical editor, apply preset. And then search where you
need to do these notes. So for example, we
need to randomize. So let's go random Okay. And let's go here down here. Okay, you see what is happening. Randomize velocity relatively. So we select this free set here, and then we just apply. Just watch carefully. What is going to happen
to these nodes here, one, two, three, four.
Watch carefully. One, two, three. Ooh. You
see what's happening? So it's kind of randomizing a little bit the
velocity of these nodes. So they kind of sound a
little more human in theory. You know, so don't overuse
it just a little bit, you know, Kind ticks, boom, boom, you know, ready. Makes it sound better.
Alright, right. And if you don't select
notes, as you can see, we'll apply this preset to every single note of
this entire clip. So be careful. And you can
do so many other things. You can randomize the
length of the nodes, right? So, in fact, that's another
problem, as you can see, when you use the manual drawing, it will also make the long
notes exactly the same length. So we do not want that. So let's do that by selecting
every note, actually. Let's select
everything like this. And randomize length. For example, let's
choose this one here length to 16th
and plus 10%, yeah. You see what is happening?
It's crazy, right? So it makes every
node shorter and randomizes Let's go
back, Let's go back. Let's try different
one. And yeah, so we can just play
with these things. But the most useful things
is simply this, you know, being able to randomize the velocity of the nodes that are otherwise
very flat. You know? When you enter the
medi performances, you are going to
have local settings for the snapping
type and matrix. You know, so it means
that this tooth here can be different
than these here. You know, I can keep the
timeline matrix for example, bar mode, you know, here, bar. But here, I can have a
completely different setting. I can keep it 16, you know, and same for here, as you can see now we are
using the grid relative mode, which allows us to keep
the custom offset or every single node
when we shift it to the next beat with control
left control, right? Or in case we don't need that, just enable the mode, you know, for example, good. And that way will snap the next bit straight
instead, you know, like this. You know, the logical
editor assume, yes, it's slightly
niche as a tool. But if you want to
say more simple, you can simply apply specific processing to specific nodes by selecting those first and
then return here to the med. Instead of going here,
go to the functions. So these are kind of batch
editing functions that allow you to achieve specific
results on those nodes. As you can see,
there are a couple of things that can
be very useful. You can give a fixed
length to those nodes or same velocity can reduce
the polyphony of the nose. So if there are too many simultaneous
nodes in a performance, you can easily constrain it to last node at the
same time, right? Two of my favorites I use this all the time,
reverse and mirror. So these are two ways you
kind of flip your nose and discover secret melodies inside your already existing
performance. It's crazy, right? So let's just try to reverse this melody. Okay? Let's see
what is happening. Cool. You see what's happening? This is the original?
Let's do reverse. It's crazy, right? And then
let's go. Let's try Mirror. Instead, which kind
of sounds different, does a slightly
different processing. You know, let's go here, Mirror. Okay, let's see. Okay, it's slightly more
crazy, that's why, yeah, But you probably saw this
thing in some back videos, where they play old back music, and then they kind of mirror it. That's the point.
You can do this with your own new music as well. Alright? Most people
can already do 90% of all the possible music just with these specific
things, you know? All rest is just
additional things that you kind of learn slowly when you become more advanced, you know, especially these
tools here are way less used. Remember that the purposes you have fun in all this, right? So just concentrate on the
performance and have fun.
15. The Most Practical Effects: Alright, so in QBs innuendo, insert is the name
given to AFX, right? So we're going to do a
journey to see how we can use AFX to improve the quality of our arrangement
and our songs. Okay? So let's see
the situation. Right now, we have simply
drums, harp, and voice. So let's listen first,
just the first two here. Listen. He is see the voice? Alright, obviously, so these
are complete raw recordings. You know, the voice is complete right now untouched
straight from the mic. I just normalized it to increase
the volume a little bit. And the harp and the groove agent have
not been changed at all. I just played the
performance and quantized a little bit of the
notes, and that's it. There are no effects right now on neither of these tracks. As you can see 00 and zero. Alright? So yeah, let's see
how we can improve these. First of all,
extremely important. In every single one
of your projects, please place a limiter
on your master track. Let me just talk English. So what I mean is when
should go to F three, so press F three to
go to the mixer. Alright. And every
single project always has the
master track, which, as you can see, has a
different fader here, a different color, and it's
called the Stereo Out. So let's first of all, double
click and rename it master. Okay, so that's where all the audio ultimately is
going to go through, right? So here, fundamentally,
you can make the entire project
quieter or louder. But we need to be careful. You see that here is red. It means that the audio is
already going above the zero, which is the
theoretical maximum. Fundamentally, if
you go above zero, everything starts to sound extremely bad. Let me show you. Alright, you see how
terrible it sounds? It's because it's going
above zero, alright? Sometimes, in some specific
genres, for example, extreme hyper pop, you know, sometimes you may
need to recreate that heavy distortion
on purpose, right? But that's something that you can start to do when
you become more advanced and when you understand what you're
doing, you know? So, normally, this type of distortion
is an issue, you know? So we need to keep the audio controlled by simply
keeping the fader on zero. And we simply reset the lad here by pressing
simply clicking here. Okay? And let's go to the
inserts of the master, right? So these are the master
effects here, okay? And just click any
of the empty slots. And here we're going to
search for simple effect. So make sure that you here enable default, default, right? So this is going to display all the effects that you have. And one of those is going to
be called Vircual Limiter. Alright? It doesn't matter which
version of as you're using, you're probably going
to have at least one of these Bricual limiter. So we press Enter,
should confirm it. Okay, and just opens the interface of that
specific effect. Now, I want you to pause
the video and copy exactly the settings
that you see on these faders and sliders. So just copy these what this does fametr is that
it doesn't matter how loud the
instruments will be. It will always keep
everything at -0.2, which is a very safe threshold. Alright? Fundamentally,
it will never distort that heavily or
fundamentally at all. So let's close the interface
by pressing escape. And let me show you. See that? What is happening? Now it's just hitting a wall. Safe. So as soon as I bypass the effect by
pressing this button, see what's happening and
goes immediately above it. Now it's a gap in the story. Okay. And there's
even a safer spot to put this stuff too. So we can simply right click on this effect and then just press, move to post fader slot. And as you can see the effect
just jumped at the bottom of the chain exactly here
after this dotted line. So, you know, fundamentally, it's placing this effect
actually after the fader, which means that now
we can even blast the fader itself in case you want the music
should be louder. But at the end of this, there will always be still
the limiter. Let me show you. Same. Whereas, if we place the
effect before the fader, so before, obviously, let's
put it back pre fader. Then if we do a plus 12, pol numetr even though the signal was initially
limited to zero, if we do a plus 12
after the limiter, it will again be distorting. Let's see. You see? So the ultimate way to keep the audio safe
on your projects is to enable a brickwall
limiter and then place a post fader, and then you can
do where we want. You can even blast the
volume in case you need more loudness quickly,
and that's it. This is especially
useful when you want to feel more immersed,
when you compose music. Maybe you want to increase
the loudness temporally. And that's the quick way to
solve this issue, alright? Alright, at this point, we
can simply close this with Control W or close the
window from here, boom. And let's start from the drums. Then we're gonna fix the
harp and finally the voice. Alright, so for now, let's
mute the other things. Let's keep only the drums. Okay, so first of all, the drums are maybe
a little dry. So let's make them
a little more. Let's kind of merge all
these drum pieces a little better by placing them in
the same environment, right? So let's use the reverb. So the reverb is fundamentally a simulation of a room, alright? So in Qs, there are
many many reverbs. So let me show you all
of those in order. So, for example, the
most powerful one is called reference, which you may not have. So if you have this,
use this reference. Okay. And this is called
convolution reverb. Fundamentally, it's the
most realistic type of reverb as possible. It's really a real reverb
that allows you to kind of place that instrument into that real
environment. You know? So in this case, we're
gonna search simply maybe a can search a studio,
okay? Double click. And then choose simply the mix. You know, how much of it?
You see what's happening? Alright. You can also use Alt and drag
to move this little slider. Okay. For now, let's just bypass this effect by pressing
this button here. Boom. Alright. So the
other solution that you can try to have
is revelation in tat. Revelation is the second
one, second place. This tat is a
complete simulation, so completely digital, alright. But it's still amazing.
So let me show you. Ooh, alright. Let's use one of the
priestess again. For example, let's go
with a short room. Living room, yeah, double click. Alright. As you can see, again, we have the parameter mix, as you can see, very important. Okay. Don't feel dividtd
by all these things. You don't let to learn
any of these ever. Alright, don't worry. If
you want to stay simple, simply trick the mix and
choose nice freset, you know, if you want to become more
advanced, yeah, obviously, study this for the manual, you know, but if you
want to stay simple. And finally, you have a
third simpler solution as possible in case you
don't have any of these two, search at least room works. Room works you must have,
for sure, this one here. Alright, there are two versions. This got super
minimalistic version. Let's the standard one. Room works here, and this is fundamentally a
copy of revelation, alright? Okay, let's see.
It's why you show. Late drop spread.
As you can see, I'm increasing the
reverb time, Sally. Alright. Not bad. As you can see it makes the
sound less dry, you know, it kind of makes it places
it in a real environment, you know, so it makes it a little more dramatic, in a way. And yeah, so that's already
one thing that we can do. Alright? So as you can see, I can bypass any of the
effects at any time. So fro let's keep only
revelation enabled. You can also completely disengage the effect in
case you realize that I didn't use it at
all to save the CPU completely by clicking
on the effect. You know, when you all
click, it will actually unplug it and save
the CPU completely. Otherwise, it will kind of
still use a little bit of it, you know, if you kind of
keep it like that, you know? Because when you keep it
like this, just bypass, it will fundamentally
allow you to dynamically enable or
disable it using automation, which I'm going to
show you later, right? So, okay, for example, I
say, Okay, you know what? Let me use just this. Alright. Alright. Let me show you one thing.
Every single effect, every single lane has
always this letter here, channel settings with a E. Here. When you press this button, it will allow you to have a
default set of mini effects to kind of tweak or ready the sound of the instrument
a little bit, you know? So let's go in order. The gate allows us
to kind of mute every single sound that goes below the threshold of
volume that we choose. So let me show you what I mean. We enable this noise gate. Okay. So now if I
raise this threshold, every sound that is gonna
be below that threshold is gonna be completely cut off
from the thy, you know? And let me show you
what. Let me show you. You see what's happening?
I only this air. There's a point
where it will kind of start to cut off
everything, you know? And I can make it very reactive by simply reducing
the release time. So that's how fast it will close the volume. And
that's it, you know? And then if I want to reopen it, just make it the tract a
little over again, right? Because all the
sm fonity are too quite to exceed this
threshold of volume, and consequently, they
get cut off completely. Or, instead of cutting
those off completely, I can reduce the reduction
actually maybe simply -12. Alright? So this processing
theory increases the dynamic, the dynamics of the dynamic range of the
instrun, you know? So then we can do the
opposite of noise reduction, which is compression
fundamentally. So we're gonna squeeze and increase the loudness
of this a little bit. We can do it by selecting, for example, one of these three, for example, tube
the compressor. Simply increase the input. Okay? And then we decrease the release time
should make it more reactive. Okay, increase the drive, should make a more analog. See that sounds a little more disordd but it's kind of controlled,
in a way, you know? Hey, let's keep it that way. And then one of the most
important things, the equalizer. So the equalizer, I recommend
using it from here. Alright. So every
sound in existence goes from 20 hertz
to 20 K hertz here. Alright? So, fundamentally, these are the low frequencies,
you know, kind of. These are instead,
high frequencies that sound like this, right? And these are
medium frequencies. Alright? So
fundamentally, we can cut off specific frequencies to make it sound like
more telephone, for example, by using
a high pass filter, for example, here, we can engage this one and
increase the frequency. Let me show. You see
what's happening? Now it's, like,
through a telephone. Or we can do the opposite. We can make it sound
like muffled as if we close the door and we go
in a different room, right? So we can simply use
the low pass filter for this by increasing
the frequency of this. You see what's happening?
So now it's as if we are on to close the room and we hear the music kind
of muffled, right? Because there is a wall between us and the source of sound. Alright. So these are the two fundamental
filters that you can find in any
softer ever, alright? Then this here is
called slope that allows us to make the
filter all more extreme, so we can increase
this number to 48. You're gonna make
it slightly more resonant, you know,
and more extreme. If you want to smoothest
filter as possible, obviously keep it on
six, and that's it. It's the more transparent
type of filter. Okay? In this case, let's keep it open we
like the sound as it is. And then there are kind
of the bell filters which fundamentally lows you should click anywhere like this, and you can kind of reduce and customize the spectrum of the sound wherever
you want, you know? But when you use the equalizer, try to never boost, but actually simply
cut away frequencies. You know. Imagine
this like a statue. You don't need to add all
stone is already there. You just need to
remove to kind of make the sound clearer
and smoother, you know? And also, think about the interaction between
your sound, right? If we have a voice, which normally the voice occupies
the medium frequency, maybe it's a wise choice to cut off some menial frequencies
from the drums. So we sacrifice some of
those from the drums so that then the voice has a better time being intelligible, right? That's the point. So simply cut off some of the frequencies
here in the medium. You know, we don't
really need it too much. That way, the voice
will kind of cut off better in the mix
automatically. Alright. Okay. And then we close.
Then what else? Then there is another
effect here called Dicer. This is good for
mostly for the voice to reduce the
annoying consonant, you know, especially the
or, you know, or the sea. You know, so many continents are very annoying for the mix. So this especially this Diaster is a way to keep that
under control, you know? So I'm gonna show you
later with the voice. And here, the saturator is
fundamentally this knob here, but a dedicated effect just
for the effect to the drive. You know, it makes
everything sound distorted and crazy.
Let me show you. You know, you know, a little more aggressive,
you know, grunge. We have different types,
different simulations, tube, you know, so many types. Alright, in this
case, for example, it'll save with a tape,
Magneto is taped in this case. You is one of my
favorites. Alright, okay. And finally, there
is, as you can see, a dedicated limiter
in case you keep that channel already
under zero if you want, so you can keep a
brick wall limiter specifically already for
that channel already. Sometimes it may
be a good choice because so many instruments sometimes can be so loud that they go over zero, like crazy. So it's a good
choice to keep those controlled already
using a brick wall only for them already. Alright. And this is
just this channel strip. As you can see, it's
kind of a delicate kind of separate mini chain of effects that you have
available at any time on every instrument and
every audio track, alright? So let's go back to the inserts. As you can see, the inserts have just empty lot except for the
reverb that we have set up. If you see this
little button here, it kind of allows
us to choose where the strip effects happen
compared to the insert. Fundamentally, we can
say, Okay, you know what? Place the reverb
after these effects. As you can see, if I press
this button, it says, move channel strip effects
to the pre insert position. That means that now
when we press this. Okay, now the insert as you
can see, go to the right. It means that the reverb
will happen after, you know, all these
things are now going to be placed inside the room. Okay. And yeah, so it
seems the drums are good enough for now, so
we can simply close them. That's it. Let's go to the harp. Okay. So the first
issue is maybe the harp is not as
rhythmic as we want. Well let's see what we can
do to improve this aspect. We can simply go to the
inserts of the harp, and this time we go to the
modulation category here. And then click on Chopper
in case you see it. Alright, here. Okay. And this is a volume shaper.
That's how it's called. And so let's choose
one way formats choose for sample semi that
does hip, do, do too. So probably is this shape here. Okay. Then when you tweak
the speed from here? In this case, we don't you go when you could go
18, alright? 18. Okay. And then enable more, no mode. And then maybe tweak the
amount of this maybe 75. Alright, see what is happening. Make it a little
more interesting. Alright? And after this, let's go back to the modulation. Let's search for Flanders. We choose the mix so we can choose the amount
of this, you know? Alright. Then what else? Let's cut cut out some low
some high frequencies, you know, so we go
to the equalizer. Alright? And then we increase the loudness of this
by using a maximizer. So we go here, search
for a maximizer. Okay. And increase simply this
knob here, optimize. And then be chose to at the final volume by
decreasing the fainter. Okay. And then you know what? Let's see if we can increase. Can make it even
more interesting by using a delay,
some kind of echo. So we go here. Delay.
Ping pong, delay. So let's search for ping pong. Okay. Here. And let's
see. We can tweak. We can choose, for example, let's choose this specific
metric of the delay, maybe 18 dotted.
Okay, let's see. Alright, let's open the delay. Oh, see what's
happening. Alright. Now we're talking, Finally, space, space, the harp, also in some kind of
environment as well. So let's go to the revelation. It's use a cathedral preset. Natural. Double click.
Just the amount. This lock here allows
you should keep the amount locked while you
navigate differ resets. Let me show you. You see? Is there, consistent, right, even though I changed
the kick there. Preset. See what's happening?
Ooh. Alright. So we actually have a proper
groove built off. You know what? Let's go back
to the drums for a second. Let's degrade dose on
purpose using a bit crusher. So we go here and
we search Crusher. Alright? Do soldier. Bit Crusher, this guy.
Alright? And then we simply increase sample divider. See what it's doing?
Kind of makes the drums et more 30, Elmoreight
bits, right? Ans just a bit up slowly? Ooh. You see what's happening? Then this changes the algorithm. Each one sounds
slightly different. This obviously is a
complete subject choice. You know, you can do what
we want. And the order of the effects matters. So if you place the bit
crasher before the revelation, obviously, the reverb will be immune to the
bit crasher, right? Otherwise, if you place the
bit crasher after the reverb, it will take account of
the reverb as well, right? So it will completely change
how it sounds, let's see. Fundamentally, now it
sounds more clean. Right? So, so, so let's keep it a little
loose. See the difference? Now it's taking
account of the tails of the rebir fundamentally, and that's why.
It's more apparent. Ooh. Alright. Okay, now it sounds
search to be reasonable. So let's go to the voice.
Alright? What about that? Mmm Alright. First issue. The voice is slightly
out of tune, even though I did my best. So noes are slightly
flat, right? So let's fix that
by using a Atotune. So the auto tune of tu base
is called pitch correct. So you go here and you search
pitch correct, simply. Alright? Boom, and then enter. Alright. So here we
gonna choose the gender, first of all, male and
then set this to custom. And then reduce the
tolerance to 15 and finally speed to maybe 80
by default, you know, 80. So the most important
thing is speed. So this is how aggressive the correction
will be, how fast, you know, Tolerance
fundamentally determines how easily it will trigger the
correction, you know. And then here, the
most important thing is choosing the
right notes, right? So for this, unfortunately, you need to have some basics of music theory because
that way you already know what are the right
notes of your song, alright? In this case, I know that is
a song in E minor, right? So I can already choose the notes of this specific
scale of my song, right? So I know that I will not touch other notes
other than this. So I can simply constrain
already the possible notes. Alright, let's see what happens. Alright. Immediately better. See that now is more in tune. You know? Mm hm. Alright. Well, first of all,
let's start to increase the loudness
of the voice, using some kind of nice
compressor, right? Let's go here. Okay.
Increase the input, and then increase the output. Make sure that the compression
is around minus six here. And increase slowly in the
drive increase release. Enable Auto. I that. Things are just meant
option, option. Alright. See guys aren't
to be more consistent. So you place this dry sound
into a reverb, right? Let's go with Arena. We see how much the voice
actually open, right? So satisfying. Let's increase
the theoria property, increasing the rear
of time. Okay. As we make some delay, but this time after the reverb that can be interesting trick. So we increase, we introduce,
again, our best friend, the ping pong. Hey,
let's make it slower. So this time, one fourth, and open it lit
after the reverb. So we'll actually take account of also the reverb
in the ping pong. Delay. Alright? Let's see. Please, count? Well, 15% should be enough. It. Another very advanced
trick that we can do is you play multiple echoes, so we simply drag away from
here while holding Alt. Well, you should duplicate that fact with the
same statings. At that point, you can simply
click on the second one, and we're gonna apply different
timing to the new one. So, for example, to this, let's make it
faster and a little weirder for example, 18 dotted. Alright. And let's
see what happens. This creates a so
called granular effect. Fundamentally, the copies of
the sound kind of go into the second delay and create
interesting out of time, mini delays as well, you know? So it's a kind of interesting
intrication of delays. And let's also flip the order on the second delay by
clicking this start right, so we kind of differentiate
better the echoes. Let's see. Alright. And yeah. To make music, you don't really need too
much out of this. You know, that's the
beauty of music. You just need a bunch
of effects, equalizer, compressors, and then a bunch
of reverbs, and that's it. You know, that's everything other than this is just
optional. That's the point. There are so many bands
in the past that made so giant masterpieces using
these simple effects, but in real life, you know,
kind of analog effects. But that's the point. You
know, that's the truth. That's the point. You
don't need to have too much effects
on your arsenal. Just need to have
the good ideas. Alright? Another
trick that we can do is to make a female voice simply by duplicating our
vocal track, duplicate. We're gonna call this
voice female one. Alright. Here, this one, we simply go to the
picture correct and we actually increase
the transfer of 212, which means that it's
going to go up one octave. You make it more sound
make it more natural. We need to increase
also the formats. The formats are fundamentally the overtones of
the voice, right? So this when you increase
it a little bit, around 30, it will make it sound actually a little more
like a female, see? See what is happening? We
more masculine, right? So, let's keep that
around joint five. Alright? And then you reduce
the hide the artifects. We can simply make
it more darker. And also the low frequency if we don't really
need these anymore. So let's make the
spectrum cleaner. Alright. Here, Hans. Let's start you mix
it back the boys. Maybe make the female lower. And you can you can start
your check, though. The volumes on the
big mixer, right? So you can see that fix you up. Alright. So That's it. I need to make music. That's it. And then we can increase
the entire track from here. That's it. That's it. So to make music, you can do it with
simply these effects and simply good ideas.
16. How To Export 101: The simplest ways to export your songs is to simply
select everything. So you go in your
timeline. All right. And then you press
Control A. All right. And this is going to select
all the events automatically, and then simply press B. Okay. Then double check if this
selection here makes sense, because some signs may be
longer than necessary, alright? What my recommendation is to
at least put maybe extra bar because if there's a reverb or some delay that creates
some tail in your sounds, your sounds are not gonna
end example here, right? So to avoid chopping
those off brutally, you may need to add
an extra or twice, you know, kind of an
extra bar like this. You know, as you can
see, I'm holding old, and then simply a
couple of extra bars. Let's leave it extra
bars like this, alright? So let me show you
the reason why because when this song ends, in this case, there is a delay. Alright. For that reason. Otherwise, if we
export it until here, it will just chop off the remaining delay that was naturally going
to fade out, right? The takeaway is
evaluate the situation. You know, if there is some
kind of tail in your sens, maybe it's a good idea
to add some extra tail, you know, some
extra bars, right? And, yeah. So after we have
the range selected, remember that you can
simply do it with Control click and hold, click. Then simply press, file, export. How do you mix down? And we're here. So just simply
give a name to your file. You have two choices.
If you send this to your friend simply
through WhatsApp, for maximum compatibility, I recommend using the
MP three format. So you change this to P three. And then simply blast
this three, 20. Then check high quality mode on. Yeah, that's it.
Confirm. Make sure that you have exactly
my sellings like this. You know, do nothing. Keep these unchecked. So just copy my sells
exactly as they are. Also make sure that you
export the master, alright? And also make sure that you have a nice limiter on your master. So you press F three to reach
this weird window here, and then you go to the
inserts of the master, right? Which is this fader here. Make sure that for safety, you place a nice limiter. On your master, right? So you just close
this weird window, copy my settings to have a clean audio when
you export, right? So then you go here and
export audio. Ready, go. That's gonna create
does sound exported, so we go inside the
folder, mix down. And yeah, here is. So
we can play it, Lucy. Cool. Alright? That's it. That's it. That's
it. Very important. And okay, after that,
in case, instead, you're gonna you need the maximum quality because maybe you need to
continue to work on this file on a different
D or you want to report the sounds into a quebse for some chopping or
advanced processing. Make sure you use
instead the wave format. So to do that, simply go back to our amazing menu
here and instead, change this to wave. And that's it. Don't
change anything else, copy my settings as they are. And then simply
confirm. Ooh, export. Boom. Alright. That's all
you need to know, okay? We're gonna go back
to this topic later in a way, more detailed way. But for basic functionality, that's all you need
to know for now.
17. Delays: Alright starts to
explain what delays are. Alright. So first of all,
let's chop this drum loop. We simply press peach loop, only these first 2 bars, and we're going to
go in beat mode, and we're going to chop only the first two beats and
mute the rest using seven, seven, and click. Alright? Okay. Let's enable to click with C. Okay. So let's see
what we can do with delays just simply
this simple loop. Alright? So fundamentally delays repeat the incoming signal
at regular intervals. Okay? Let me show
you what I mean. So we simply use
the simplest delays possible that we have in Q base. So we go here, let's go let's go to the
mixer, using F three. So we are here. Let's go to the end of this chain,
here, and we add. Let's go to the Vendors. Alright, let's go to
the Steinberg category. So delays, first of all, right. We're gonna analyze
all these guys. Let's go with as
simplest as possible. Mono delay. Alright. Boom. Okay, let's see
what is happening simply with the
default settings. How is that possible? You
see what is happening? Even though it's
playing on here, it's only repeating a
second time, right? The reason is because
right now it set one, one, which means a
full bar, you know? So, this means that every
bar is gonna repeat the signal that
the entire signal that came in into the
previous bar, you know? So this is what is
happening right now. Let's make it become
twice as fast. So every tube beats. So simply change this one tube, L's. See what is happening now? So now it's repeating this as if it was kind of a loop
like this, you know? And every copy reduces
the volume more, more, more, so it kind
of fades out slowly. That is determined
by the feedback. So if we increase the feedback, the volume of each copy
is going to be more consistent as if it's not
gonna decrease at all. Right? And the other way around, if we reduce this to very low, it's gonna fade
out very quickly. See what is happening? So
fundamentally has time to maybe repeat a couple of
times, and then that's it. Kind of dies earlier, you know? Are you? Let's make this
twice as fast again. One fourth. See what
is happening now? So, now it's repeating
at every bit, you know? One, two, three, four. Alright. Okay. And simply
the filter here allows us to make each copy darker and darker by reducing the high
filter frequency like this. See what is happening. Each copy becomes darker and
darker, right? And we can also
make it brighter, kind of more telephony by
increasing this low filter. So this is a low pass
and high pass, right? Okay, let's increase
the feedback. Alright? See what is happening? Okay. Let's pick
this twice as fast. Alright, you probably
know this effect. You've probably heard
this in movies. Alright? And obviously, dry and wet, allows us should
decide how much of the normal unprocessed signal versus how much of
the wet signal. So if we go over 50%, now we are on fundamentally
80% delayed signal and only 20% of the
original signal, you know? Let's make it even faster. Alright, let's increase
the feedback even more. Be careful when you go
around 100% because every single copy pomtal will
not decrease the volume, and it may increase some feedback loops
may be very annoying. So we should make if you're not sure plays a nice
limiter after the delay, and you're kind of
more safe, you know? Alright, T and then we can do more crazy
metrics, you know, here to know what these
are exactly in issue, at least have some theory
of music knowledge. Otherwise, simply, you
know, go by instinct, just play around with
different metrics like this. So this right now is
called triblet, you know? Hnmental for each bar, it's gonna do three micro beats
instead of two, you know? So it's a crazy, irregular subdivision pnomentr, you know? You know? Or we can
also do dotted. So we go to the D, which means
dotted. Let me show you. Okay. So let's return to the
normal one fourth. Alright, two, three, four, five, six, seven, eight. Okay. Let's go back to
the one fourth triplet. You see the difference? And now let's go to the one
fourth, dotted. Ready? We'll go. See
what it's doing. Dotted fundamentally loads,
you should you kind of up time counter points more easily. That's the easy way to understand what
it's doing, you know? And finally, sometimes you need not to have
actual metric here, but actually absolute
time in milliseconds. So we can sell, You
know what? Repeat. Every 50 milliseconds,
the signal. We can do it. We simply untoggle the sink, and Sgt now is repeating it brutally every
50 milliseconds, which can achieve these
particular facts, you know? See what's happening?
Now we're using a brutal raw millisecond value for the
repetition, you know? And this value can be very
interesting to automate it slowly because it will kind of create interesting artifacts. I'm going to show you later
in the automation section. Alright? Okay, let's go faster. Okay. Okay? If you
go very short, it may almost create
another effect, which is called flander which I'm going to show you very soon. And yeah, so just play
around with these things. And, if you want the delay
to become more interesting, as you can see, right now,
the delay is completely mono. It means that it's keeping
the centre signal, right, and that's it. So the way to become more interesting is
simply use delays. So we go now here and we
start to use my ferret, the pink punk delay.
Let me show you. You see what this is doing?
Fundamentally, each copy is going back and forth between
left and right channel. Immediately more interesting.
You see what's happening? And we can expand. We can enhance this effect by
simply increasing spatial, and the jump is going to be more extreme between the two
channels, you know? Here you can simply
invert the initial verse. See what is happening? Let's
go to one fourth adopted. Ooh. Alright. This is the easiest way to
make a delay interesting. Simply, you go ping pong
and that's it, you know? And then there are
more weird delays. For example, here, we have the stereo delays kind of fell under the back burden after the ping pong delay
became the trend. This fundamentally
is two mono delays, and you have separate control through each of the
che delays, you know? So in a way, you can kind of recreate the same
thing as a ping pong delay, but with more in a way, more control on the che
actual delay lines, you know? Okay? Then we have
the studio delay, which in case you don't have
this, you can skip this. This is one of the presets. This is a little more advanced to understand has way more things, you know? CGT has multi effects. So use this only if you
are more advanced if you kind of the previous
ones are not enough for you, you know, or simply
play with precess, you know, and then
play simply for the feedback, the time. You know? Okay, let's go then. And then these are,
again, older delays here. This nobody almost uses anymore. It's got older delay. But the point is
that now that you understand the fundamental role, there's something that you
always find in the delays, which is the timing
and the feedback. And obviously the mix, you
decide how much of this, you know? And what else? And then finally, we have
the multi tap, which is, again, another sub
type of delay. Let me choose a preset here. Let's go with vocals.
Actually drums, let's see if there's for drums. Alright, let's try this. Okay. As you can see
every type of delay fundamentally has a
unique sound, you know? The trick is to simply play
around with these things, you slowly understand
what each knob does. But as you can see,
always, always, you will find the sync control, the feedback, and the
mix somewhere, you know? So as long as you understand these three fundamentals
of the delay, then you can simply understand all the things more easily. You know, that's it. That's
the fundamental trick, to not get confused, alright? S here we can have multiple control
on how many voices at the same time.
It's crazy, right? Alright. Yep.
18. Distortion: The main purpose of
distortion effect is to either have a more
aggressive sound that you should cut through the mix more easily or purely as
a creative choice, you know, to have
simply a sound that you like for your
specific genre, you know, or for both
purposes at the same time. Alright? Let me show
you how it works. Let's go with the drums for now. Hey, here's. Let's start
with the first one. Amps later. He, right
here. I think, Jim? This places it into
some kind of guitar, electric guitar
cabinet, you know, we can change the type. No. Mm. You see this happening? Makes
it super crunchy, right? So it makes the sound more crunchy for the math, you know? Each one is
completely different. Mm. You know, you can
you can use preset, as well if you don't feel
like creating your own. You know? And obviously, you can use
this not only on drums, but anywhere you
want, so you can make let's add it to
the heart, for example. So this happening?
Sounds more metal, you know, like an
electric guitar, almost. Or a little more relaxed, right? There's so many settings.
Just simple with this. Alright? Okay, that's one. Let's go Next
disorder. Bitcrasher. Bitcrasher fundamentally
reduces the sample rate and bit bit depth of the instrument that
you're feeding in. Fundamentally, when
we make music, you remember when we
created this project here, using shifts, we set up this. This is the sample rate
of the project, okay? When we reduce this sample
rate is going to fundamentally introduce some audible artifacts in the spectrum, you know? So this effect
fundamentally does on purpose to make the sound
a little more degraded, you know, and also compressed. You probably are familiar with the sound if you played a kind of Nintendo first console games
or Playstation one games. Let me show you here. See this artifact. That's it. To place a instrument
instantly in solo, you can simply control
click here and will instantly place only that
track in solo, you know? See what is happening?
And the B death, instead, kind of destroys the dynamic range of the
instrument on purpose. So let's try this on drums. You see what's
happening? Let's keep the bit death normal for now. Let's only play with
the sample ate. The more I reduce
it, fundamentally, you will half the
samp ate more, more. Alright. Obviously, you can
choose the mix like this. Mix dry wet as always. Okay. And now let's
reduce the bit. So you can notice that
it's gonna fdaplate out all the transients the
more you reduce the bit. See this happening? Because now dynamic range is destroyed
on purpose, you know? Well, this can be
useful in case you want a kind of very crunchy sound. Sometimes it is the
ultimate trick, you know? It seems bit crashing, you know? Don't go too high, otherwise. Alright? And, yeah.
That's the bit crasher. Okay, let's go to the next one. So this is simply some
quick distortion control, you know, simply drive,
not much, you know? A quick crunch, you know. This is kind of preamplifier
effect, you know, so it's kind of a
little more analog simulation, and that's it. Let's get to the s one.
Distortion is very similar again. Yeah, if you want to
make your instrument sound more enraged, you
know, you can do that. Let's use this
destroyer, Let's see. Similar thing again. All these
effects are very similar. Just going ups. Like those or use
P sets again here. Okay, let's go to the next one. So these you don't have,
so let's use those. So this can be interesting
because it kind of simulates as if you place the entire instrument
inside a old vinyl system. So let's place
this on the master here, and let's
see what happens. You can also place on
a specific instrument. Alright. This can be useful if
you make low five. For example, you
can have a quick, realistic vinyl noise, you know? Alright, so let's
go to the next one. Magneto is a simulation of tape. Alright? So tape is great. So you can place on
the entire master, for example, or a stretch, just trying the drums for now. You simply increase
the saturation level. Mode and then output bot. Enable this here, you can
tweak the high frequencies. I make it more brighter.
Delta. You see that it's not too apparent, but makes the sound pad out in the mix more easily in case that sound is important
for the mix, right? Or we can simply place it
in the master again here. Make sound more crunchy, you know? Let's try without. Got I become more empty,
a little more dark. Fundamentally, saturation is a smart way to increase loudness of a song without increasing the volume
directly, you know? So this already is a little
tricky I will show you later. We will talk more specifically
about these things. Alright, and so let's go
forward. Let's go here. Quadra fud is a little
more complex as an effect. Fundamentally gives
you four distortions with four bands on the spectrum. As you can see we have,
again, the spectrum going 20-20 k, right? And for each band here, we can choose a specific
distortion, you know? So it's kind of something
that you can apply, again, on a specific effect, but or on an entire track or on a group of
tracks all at once. So let's try to apply this
on the drums for now. Okay? And so let's use one the press
so let's see what is happening. Let's
play this in solo. Alright, so it has many things. It even has a delay in
case so many things. Alright. You know,
you can simply try the precess in case
you're not sure about what you're doing and simply
do cool the facts, you know? You know, and at the end, you always have this mix, right? You can choose the amount
of all the supplements. Okay. Let's go to the next one. A soft clipper allows you to make effect cat out in the mix
more easily. So let's see. Increase the second
and third harmony. Thres the input. Do you
see what's happening? No, it's cutting out
through the mix. So we hear the drums more. Thanks. And the reason is because I'm increasing
the harmonics of this effect, you know? You can be very aggressive
if you want, you know? Very cool. We don't need the voice too much
because it's already good. Okay. And finally, let's see
the purpose of these final two are for
guitar or bass, right. But actually, they are very
similar to the Quadropaz. They are an entire multi
effect suite here. So let's apply this on the
entire master, for example, VST APAC, ultimately, gives you access to a workflow
where you apply. You kind of place this
inside the cabinet. You know, it's similar to
the first one I showed you amp simulator but a little
bigger as an effect, you know? So let's go first of all,
on the configuration and we make this become stereo
otherwise gonna be mono. Let me show you. Yeah. So is play stereo. We preserve the teripony, right? Yes, then we change. The container. Poof. You know, I can place the entire thing
inside the amplifier, you know, which sometimes can make something sound bad ***. Poof. Then we tweak these things
here, travel middle presence. Okay. Maybe let's apply on
the drums again, see? So this is happening. So now we're placing the drums inside amplifier fundamentally. Sound more enraged, you know? Oh, you know, then here you
can use additional effects, which I'm gonna explain later. Or you can simulate
microphones, right? You can even simulate
the positioning of the microphone in
front of the speaker. You know, it's crazy. And, yeah. So that's
another thing. And finally, we have base
amp, which is the same thing, but for more base fundamentally, so it gives you access to a
different set of amplifier. Amplifiers specialize on bases, you know, which you
can choose those. You see that now, it's
a little more basis optimized for that
stuff, you know? Spy this on the harp this time. With afar the heart
became more basy, you know? Or fed. All right. Now we're
talking, right? Change the microphone
here. It's pretty cool. Dancer, shotgun, so many things. Change the mix between two
microphones at the same time. Stereo? Alright, you see how
much it opens instantly. We enable the stereo mode. I always use it in stereo
mode. It's my heart. Alright. What's up. So, have fun with all these. So that's fundamentally
the everything that you should know
about distortion. Every single effect always is gonna follow one of
these two paths. Make it sound more aggressive in order to cut through the mix or simply make it sound cooler by making it
more aggressive. Or sometimes you have
a third grade area where it does a little bit
of both things, right? Yeah, so just have fun.
19. Compression: If we understand
what compression and expansion are,
fundamentally, we should first do a setback and understand what dynamic
range is in the first place. So every single sound
has a difference between the lowest intensity shot and the highest intensity
shot of that sound. That range is called
dynamic range, right? So fundamentally, per we
have these drums here, as you can see, the
meter is not flat, because there are some pieces of the drum that
are more intense. And the high at
intent, the high, for example, is kind of
slightly lighter as volume. And that fundamentally is the dynamic range of
this instrument for now. So as you can see it
goes from around here, that's the kind of peak. The highest, lowest point is around the high heads
are around here. So we can say that
this dynamic range is around 12 DBs of
dynamic range, right? Sometimes the dynamic
range is too high, so we need to decrease
it using compression. That's one of the ways, okay? So to do that, we simply need to apply the simplest
compression as possible. So let's go here inserts and use our classic
compressor, right? It doesn't matter which
version of Q base you have, this will be available
compressor here, right? Well. Okay. So every
single compressor always has a main control
called threshold, okay? So this is the point
above which the signal will trigger the gain reduction, which is this thing here, which means that if we put this on zero, it will
not do anything. See what is happening? The input and the
output signal are identical right
now because there is no gain reduction here. All right? Because
the threshold is really the max possible, so it's not being surpassed
by any means, right? So what? Let's see what happens if I slowly
decrease the threshold. Alright. See what is happening? Now the threshold
is being, indeed, surpassed and is triggering fundamentally a reduction
of volume, you know? And the amount of the
reduction depends on how much the threshold gets
surpassed, you know? So let's see how we can
regulate that behavior. First of all, we can
make the reduction more violent by simply increasing
the ratio here, right? So, fundamentally,
if it's untrue, the amount of volume is
gonna be halved, you know? But if you want, you, you know, divide the signal by four
and so on and so on, until the signal gets reduced
violently, you know, a lot. You see what's happening? All of this without changing
the threshold. But in case we change
the threshold, it's gonna decrease
the volume even more. See what's happening. And then we have
the so called knee. The NIF kind of make a
smooth transition between the non compressing area of the signal and the
compressing area. That's why it's called
knee. Is this edge here. So, in this case,
we want on purpose, the compression to be
a little more violent. So let's disable the
soft knee, alright? Okay, and let's enable
the high ratio, the height as possible. Okay. Alright. So let's just
reduce the threshold. Okay. Then the attack
determines how fast the gain reduction starts to decrease after the signal
has surpassed the threshold. Which means that obviously, if we keep it very low, it's going to immediately
reduce the volume. Instead, if you want
to preserve some of the original transients
in the signal, simply make the attack slower. You see that now, where
don't you hear the snare again because now it's kind
of passing through, you know? But only the first
30 milliseconds, then it's gonna be decreased. Okay. Then release the opposite. Fundamentally
determines how fast the gain reduction returned to zero after the threshold has returned below the threshold. Alright? Which means that if
we make it very low, as you can see that the
gain reduction immediately recess itself as soon as the signal returns
below the threshold. But if you make it
too long, instead, it's gonna be so slow that
fundamentally we gave, we have always some level of
gain reduction, you know? This case, as you can
see it so slow that we always have reduction
in this case, right? Which is not that much
idea in this case. So let's make it
pretty reactive. Okay? This button here, instead, makes it this
for you, you know, kind of analyzes the signal automatically dynamically and
kind of changes the time, trying to guess what you
need, you know, like this. So let's keep it automatic. Ganz, finally this level here, this analysis knob
fundamentally allows us to choose to optimize the
compression reactivity. For for a sound that is more similar to Abie that has a more consistent
volume the whole time, right, like this, for example, or to be more percussive. So in this case, let's
optimize it for percussion, so we go toward the
peak like this. Alright? Okay, you're gonna probably notice that
the gain reduction is even more reactive
now compared to this. See that now it's slightly
smooth, slightly slower. So let's keep it here. Okay. And finally, you have
the most important thing, which is the makeup gain. So to compensate
this loss of volume, we're going to increase
the gain, right? We're gonna increase the volume, the output volume
in order to get the same max level on
the output, right? So, right now, the makeup
gain is put on auto, which actually is doing a
good job, as you can see, we found they have
the same peak on the input and output, right? So since in this case,
it's kind of a lucky case, sometimes you need to
apply a manual gain. By simply disobing this, and we can increase the
makeup slowly, right? So as you can see now,
there's no additional boost. And we definitely
need some of that. Otherwise, the signal
is gonna be lower. See that now, we just lost almost four DBs compared to
the input signal, alright? So let's do a four DB makeup. Alright. So fundamentally now, we have the same about
the same peak level, but we just reduce the dynamic range of
the original drums. So we just hear more also the
quieter sounds, you know? And that's what is happening
with the makeup gain. If you want, we could go
more extreme like this. But if you do that, make
sure that you apply a nice safety limiter
after the compressor. So we place a nice brick wall
limiter, and we're fine. Alright, that way, we can simply use even more gain, like crazy. Alright, see that. Now,
it's very apparent. Okay. And finally, we
have the dry mix. So this allows us to kind of mix the compressed signal with
the non compressed signal. So this is called
parallel compression. So we can use, for example, 30% of the original signal complete with full dynamics
with the compressed signal. Alright? This will end up also increasing
the total volume. So be careful. Okay.
And it's alright.
20. Expansion: Let me just show you now the
opposite of the compression, which is the expansion, right? So now that we are comfortable
with the compression, let me just enable
simple expander here. Expander. That's
how it's called. Alright, let's see
what this does. Alright. Let's just
keep the threshold, first of all, zero. Alright, we almost
don't hear anything. The reason is that the expander does the opposite
of the compressor. So instead of compressing, reducing the dynamic range. So we reduce the
difference between the highest peaks and the
lowest peaks of the sound. We actually increase the
dynamic range by pulling down the volume when it goes below
a certain threshold, right? So, and that's the reason
why we're not hearing too much right now because because
the threshold is so high, it's kind of
producing the volume of everything the whole time, which is now what we want. It's kind of muting the
signal. It's useless. So let's decrease the
row in the threshold. Alright. See that now we
start to here most off. Alright, let's keep around here. Let's find the snare. Go where the snare starts to go
through. All right here is. Okay. So pmentary right now, what is happening is
that we're hearing only the sounds that are
going above the threshold. Alright? So as you
can see it goes linear after it goes
above the threshold, and whatever goes below instead, gets kind of closed by
the volume by going down. And that as a consequence, increases the dynamic
range, right? So let's see, now we can choose the ratio similarly as
we did with the compressor, so we can choose how
aggressively the volume gets closed after the signal
goes below the threshold. So if you increase so much, it will fundamentally act
as a gate as a noise gate. I'm going to show you very soon. Alright. And then here
we have two controls. Instead of the
attack and release, QBs called the fall and rise, which do really what it says, you know, so rise, it
determines how fast the gate is gonna be opened after we go
above the threshold. So let's keep it very reactive by keeping
this on minimum. Alright. So as you can see, now since the is on
0.1 milliseconds, the signal is gonna
open instantly after the signal goes above the threshold, which
is what we want. That's good. Then let's
determine how fast the signal is gonna be cut off after it goes below the
threshold, alright? So to that, obviously, let's increase. The
fall, let's see. Okay, let's choose a
different threshold. Alright, let's find
the right spot. Okay, this snare is
going through, okay? And the rest is getting
cut off, you know? So if I make down
the fall very fast, fundamentally, you
see what happens? Poof. Now we start to hear only fundamentally
only the snare and a little bit of the high
hats, just a little bit. But as soon as I make
the fall slower, it kind of allows us to hear a little bit more
of the high hats, which are kind of
quieter, you know? Okay. I like it pretty reactive, so let's keep it around
50 milli seconds. And let's just reduce the
aggressiveness of this, so we just make the threshold
a little more the ratio, a little more tolerant,
you know, like this. Okay. All right. And then finally, let's optimize the processor to be more for percussions in this
case, like this. Alright. So right now, as a consequence, we are increasing the
dynamic range of this, which is not what
we really need. In this case, it's
not what we do, but just to make
sure you understand what this processor does. Sometimes you need to achieve this using the
expander, you know? So now that you
are a little more comfortable also with expander, let me just show you actually
something that you're gonna mostly gonna
use in real projects, which is the noise gate. So here you simply search
gate and open this one here, Dynamics gate here. Alright? Do. So this fundamentally
does the same exact thing as the expander,
but fundamentally, instead of having
the fall and rise, which are pretty
weird to understand, simply, we have the attack
and release, right? So let's keep this very short.
You see what's happening? Now we start to hear only
the peak sounds that are going above this
threshold here, right? Which means that
obviously, if we increase your march, you're not
going to hear everything. It's going to completely
close the signal. So the difference
is that we don't have any ratio control because fundamentally we have infinite
ratio with noise gate. In fact, it's going to be determined by simply
this, the range. So now, it's going to
close all the signal down to minus infinite when it
goes below the threshold. So now let's decrease
the threshold, so we have some
signal going through. Okay. And you know what? Instead of reducing the
volume to minus infinite, let's just go to
something more tolerant, maybe -12, simply, you know? And that's a alternative. You're gonna, I find extremely more useful instead
of the expander. So just get used
to yourself to use the gate instead of
the expander, alright? And the rest is the same. You know, this button
here is just useful to in case you use this in
a live stream, for example, or on a real gig in real life, where obviously
we cannot predict what the signal is going
to be coming through. So it makes sense to
enable the live button. So don't worry about that first. Just keep it disabled
in your case. And yeah, so, and finally, the hold button
allows you choose a minimum time that
the signal is going to keep the gate open after even though the signal is already below the threshold. So it means that by increasing
the threshold, okay? So for example, if I
increase the hold a lot, see what's happening? Now it's always open, because
fundamentally is so high. This time is so high that doesn't have the
time to close it. You know, it's always open. So that I allow you
to keep it open for that minimum amount
of time every time, you know, it goes
above the threshold. And you're gonna find the same
thing on the compressors. Here, there's gonna be a hold value that fundamentally
does the same thing, keeps the gain
reduction locked to that value before it
changes again, you know? Alright, and yeah, let's sort
of return here. And yeah. These two are the two
important principles of dynamic processing. If you understand compression and expansion, fundamentally, you can dominate every
single processor that deals with these
things at once, right?
21. Sidechain: Alright, so it's time to make you understand what
side chain is. If you arrive to this
point of the course, you know that when you apply
a compressor or a expander, you will fundamentally
process the signal of the channel where
you apply the effect too by utilizing the signal coming from that
channel itself, right? But there is a second
option that allows you to measure a external signal
instead of the internal signal, fundamentally, you can set
up your compressor setting. And you can dynamically decrease the volume of that
signal where you apply the compressor to only when another signal surpasses
the threshold, right? So that's fundamentally the fundamental principle
of the side chain. We use external signal as a
modulation source instead of the internal signal of the channel where we
apply the effect on. Okay? So let's do an example. We have here some
arrangement. Let me show you. I thinkers, you know, simping
some harp, some Hyun sonic, you know, Some
hand agent, right? Right? The I'll be some babies.
Then we have some voice. Um, no, no, no, no, no, no, brother. Mm. Right. So far, nothing crazy. We have some nice arrangement, and let's suppose that we
want to compress the voice only when the drums are
playing high peak notes. Okay? So to do that, we simply start to apply a
compressor on the voice. Also, let's start to apply
a reverb on the voice. So let's suppose that
we have an issue where by applying a reverb, the voice becomes too invasive, kind of steals everything in the mix, right? So let's see. You see, that's very
basic right here. So why not trying
to use instead, a nice compressor on the voice, first of all, plastic compressor is fine for this example. And you see this button here. When you see this
button, it means that side chain is available
on that effect, right? So you can simply enable that. And then we choose the source of the signal that is going to be subject to
the threshold, right? That's the fundamental
principle of side chain. So it's not going
to measure anymore the voice the threshold, but it's going to actually get signal from somewhere else. Alright, in this
case, we need to receive signal from the drums. So we simply select a source and select the channel drums. Alright, and then you can choose the amount of signal
that you can receive, you can kind of pre attenuate in case the channel too high. So, in this case,
let's actually apply some attenuation
maybe minus six. Alright. And also tick this button here so we
make sure that it doesn't take account of the
further changes that we may do on the
fader of the drums, right? So we don't want the side
chain to be affected accidentally by any change that we do on the fader
of the drum channel. So we simply tick this button
here. Alright, that's it. And now we simply
close and let's see what's happening so far,
increase the threshold. So it's happening here. It's a little too slow, right?
So let's make it faster. His app can preserve some of the attack of the voice by increasing the
attack time, right? So we can create some tolerance where
the compression says, Okay, you know what? The drums already surpassed
the mi threshold, so I'm gonna proceed to
decrease the signal, to create this pumping effect. But I'm gonna wait this amount
of time to allow the voice to show the natural attack
along with 50 milliseconds. And why stopping here? We can start to apply this
same thing on the harp. What about that?
And also the bass? So the whole track fundamentally gets pumped by the drums. So let's see what
happens with that. Let's go to the
mixer with three. And we simply all
drag the same effect. The other things that we want. I'm going to show you a
layer a more efficient way to do this with
single compressor. But for now, let's just do this. So to drag, as you can see, duplicates the effect
somewhere else, also one to the base like this. Alright and we need
to simply activate the side chain also there.
Let's double check. As you can see kind of
disconnect when you do this, so we need to simply
reconnect the drums. Okay, that's good. Let's
go here, also reconnect. Drums. Alright, so let's see
what is happening. H, Oh. Alright, so you see
what is happening now, the entire track is
affected by the drums. And yeah, so that's the fundamental principle
of side chaining, okay? So what about using side
chain on a expander? Well, let's do it. So
let's disable for now. Let's actually yeah,
let's just bypass side chain on the effects. Let's just leave it
on the voice, okay? So instead of this, let's use a gate. Alright?
What about that? We go here and a
class gate here. Ant. Let's enable Ti chain. Alright. Ant. We're gonna
say, okay, you know what? Do you have the signal
from the drums. Okay? Then we simply find,
right? Threshold, okay? Okay, let's see what is
happening already, like this. Don't hear anything.
Let's obviously go. Drums, sorry. Alone, threshold, can't
everything close, right? What accident do we go down? Game son does. Not enough. No, no, no. I know. Find the right what's happening. Oh what's happening.
Triggers the voice. Perfect with a
drums interesting. No no to make a fox. Nah. What about placing this
after a long reverb, right? So let's make the
reverb very long. Let me show you one
interesting effect. Who. So it's happening? Even though the reverb,
normally is very invasive, this allows you to kind of make the reverb rhythmic,
which is crazy, right? Or what am I placing the
gate before the reverb? So fundamentally can send these impulses impulses
to the reverb. Let's see what is
happening this way. Oh. I. A no, no, no, no, no, no, nn, no. As you can see this trach to preserve the impulsivity
of the track, so keeping these
very short attacks, but at the same time, we have these background long tails
produced by the reverb. So as you can see in
the other simply a couple of puzzle pieces
and simply changing slightly the order
of these can change significantly the effect
that you obtain, right? Finally, let me
show you one thing. As you can see, some effects
have this button here, S C, which means
side chain, right? So this is where it can
get slightly confusing. So far, I explained to you
the external side chain here. But this fundamentally is the internal side chain of some effects that they
may have it, right? So this, in short, allows you. Filter, the signal that is being used for the threshold
measurement, right? So, it means that
here, in this case, we're receiving the
drums here, okay? So let's suppose that
we want you to exclude, for example, the kicks, right,
the kicks from the drums. So in that case, this is where this filter here can
be useful because here this filter to
exclude some parts of the spectrum only from
the sight in signal. So we're not
filtering the voice. We're just filtering
the drums signal coming here in, right? Alright, I see what's happening. Right now, for
example, we're giving emphasis to the measurement
of the high hats. So that's why it's detecting
more easily only those, you know? So that's the point. And be careful, this is just a internal filtering
of the measuring signal. So we're not changing
actually how the drums are sounding
like here, right? We're simply changing how the receiving side tin
signal is being measured. So we can filter
only the spectrum of that signal that's
never been heard. In case you want to hear it, we simply enable this button
to double check, right? So we enable this and
we can hear it finally. Aida keys can be a
little confusing, so I recommend placing the
drums for now to zero. Okay, so you hear
those faint drums. So those are the actual the actual signal
that's being used. You can change it
from here as well. See that now 70. So this is independent from the actual drums that
we hear here, alright? And this also is useful when you don't use the actual
side chain here. So you can use this to tweak. Again, how to measure even the internal signal when you use this without
side chain, alright? So every single effect has internal side chain and also external side chain, alright? So, but in most cases, you don't utiche this.
That's the truth. Simply use external side chain to have these amazing
pumping effects with the compressors or these very rhythmic effects
with the gates, okay?
22. Equalizer: And the Alright, so
equalization allows us to tweak the low mid and
high frequencies of a sound to make it
more intelligible when it's going to
mix itself with the other simultaneous sounds concurring with it, you know? And usually this
happens by removing some frequencies so
kind of trade off, so you kind of make some space. Other sounds that are going to occupy those
frequencies, you know? So it's always a game
of trade offs, usually. But you can also
use equalization creatively to kind
of create peaks, frequencies in the spectrum to make it more interesting
or different, you know? So let's see the
situation right now, we have simply drums
in this melodic line. Alright, so let's explore the equalization area of Q base. We go here, Sinberg
and go to EQ. I started with first one, DJQ. This is simply a quick control for high mid and
low frequencies. You can simply down apply a quick attenuation
to where we want. Like, right now, we're applying everything to
the matter, alright? See that now, everything
becomes very muffled. You know, just a
quick quick control, you know, guess you
got you can use this. Then let's go to the next one. This, you may not have if you
don't have the pro version. EQM five is kind of a simulation
of a analog equalizer. So you have this called
parametric equalizer, alright? So as you can see, every knob tells you
what it's gonna do. It's gonna boost
some frequencies, so we increase the boost
like this and we're gonna choose where is gonna apply the boost, too,
you know, so let's see. Stay around the bass
frequencies around here, right? And then we increase the boost. See that now there's
a little more basing. That's it. Make brighter. High boost. Kind of gives a
little more clarity to the entire song, you know? There's a bigger
version of this, which is EQ P one A, which is fundamentally a bigger version with more controls, a little more
granular, you know? So we can increase, again,
boost, low frequency. This this can go
lower, as you can see. Boost, again, high frequency. Okay. You see what is happening? Let's sure to listen
to everything. It makes everything
also a little more punchy for some reason, because it's kind of
an analog simulation. You know, so without. See that sounds a little
more dead, right? A little more flat. Alright.
Okay. So the next one. This is already very advanced. Fundamentally, you
can use it simply as an equalizer with A
bands as you can see. Right? Every single frequency
has its controls. Make sure that you enable
single view like this so you can see the controls so every band a little
better, you know? Or you can use it obviously
on a specific efect. Lets suppose we want to
use it on the drums. Here. And let me show you a slightly
more advanced feature. Every single band
can be dynamic. It means that we can use
a side chain to cut off those frequencies only when the side chain signal surpasses
the threshold, right? So this could be interesting
in case, for example, we want to make
space for the voice, only when the voice is singing. When it's not, the
drums are allowed to use also those frequencies
more freely, right? So, for example, let's
cut a hole around here, the middle frequencies where the voice is going to occupy. Let me show you. So right now, we have No, no, no, Nana cutting a hole. No. Here the drums, okay? See what is happening
here. Okay? And then we're going
to enable side chain. Are we going to tell,
Okay, you know what? Receive the signal
or in this case, as you can see, we eight
side chain inputs. So we need to link
the right one. This is band number
four, so number four. Alright. So receive
the signal from voice. I guess it's not possible
because right now, drums are already sending
something to your voice. So we need to resolve that conflict by going here
to the sands of the drums. So let me check what
is happening exactly. We need to free this. This is kind of a safety
thing because otherwise, it may create some
feedback loops, right? So we simply disengage the previous used send
from the drums to voice. And instead, now
we are allowed to send signals from the
voice to drums, right? So we go back here. And
now should be possible. Number four, at source. Alright. Yep. And
yeah, let's go here. Voice, and let's kee it
that way, maybe minus six. Pre fader and that's it. Okay, let's go. Let's
see what is happening. Alright. We're still not working because we need to
enable now dynamics. Alright, on band number four. Alright? So let's keep
this actually with gain zero initially,
right, this, alright. And now, let me show
you what is happening. We search tweak the
threshold. Let me show you. Alright. Let's keep it lower
so it makes it this clear. Alright. Let's see
what is happening. Okay. And finally, one thing. We need to obviously tell the side chain to read
the external signal, not the drum signal anymore
for this band, right? So we need to go here and use the side chain signal
number four, right? And now this band, attenuation should be
triggered now only from the voice when it sings.
Let's see if that's true. You see what's happening?
Mm. No, no, no, no, no, h. No, no, no, no, Alright. So, let's actually tweak it. So make it the res faster. Nah. Sashel doesn't
make you eat hello. Happen it's perfect sing only when the boy
sings, you know? No, no, no, no, no, no, See what is happening? No, no, So, fundamentally, we have gonna give the drums permission to
use the full spectrum, only when the voice is
not singing, you know? So when the voice sings, you'll immediately create
space in that area of the spectrum or the
voice should become more intelligible in the total mix. Let's just listen to everything. That's the point. Ah, no. Alright, and as you can see, we don't really sacrifice too many important frequencies on the drums because when we start to listen
everything back, ultimately, the voice
fills that hole, and we don't notice
the sacrifice that we're doing on the drums. That's the point. Alright? Ooh. This is already a form of so called multi band
compression. That's the point. So even though this is
technically a equalizer, this is called also dynamic equalization or in other words, is simply multi
band compression. So we fundamentally apply dynamic compression only to a specific area of a
spectrum, you know? And, yeah, so that's one
of the uses of all this. Let's go to a less
complex effect. So we go here. Let's see what we have. So let's
go. Let me show you. Fundamentally allows it to shape the resonance effect, you know, we can boost some specific
tiny bands of an effect. Let me show you.Oh
So's happening? You can change the resonance
property from here. You know? It's kind of an old tool effect, but for sound design, this can be useful, you know? Change to a bigger
version of this. It gives you 30 bands. 30 bands is crazy, right? If you ever had old
stereo CD player, you probably need to
recognize this device here. You know, who,
pretty good because we have these tiny
specific bands that allows that to trigger specific properties
of this sound, right? So that's the reason
why this may be useful for sound design
purposes, mostly. Alright. Go to the
next one. Studio EQ. This instead is fundamentally a simpler version to use
of the frequency effect. So if you don't have this, you probably have at
least studio EQ, which fundamentally just
gives you four bands, easier to use, fixed
processing like this. You can bring it home easily. If you use this, you
can also use auto gain, which is pretty useful because
it kind of compensates the loss in energy that each
band produces, you know? So yeah, again, use it for self design or for
mixing ibting space.
23. Filters: Filter effects are very
similar to EQ effects because these also deal with closing or opening certain frequencies
of a sound, right? But usually filters are
more general purpose. It means that they tend to be
more for creative purposes, whereas EQs usually are
more for technical issues, so more for mixing,
et cetera, right? So filters are going to be
more creative in general. Let's see what is happening. The first one is
called auto filter. Let's see what it does.
Alright, first of all, let's disable the auto mode. Alright, okay? I'm
tell you what it does. We can simply change the mix. We can then change the
frequency, obviously. Alright, so this allows
you close the sound. Obviously, it's a low
pass or high pass. You can change the resonance. Okay. And obviously, we can link the frequency cut off to the imposes to the
envelope of the song. So we can enable auto mode. Let me show you. See
what is happening. So now it's linked to the
drums fundamentally. Right? Let me just apply
this to the drums specifically. Let's
see what it does. Alright. See what it's doing? Well, well. Okay, let's use low pass. Wow. See that fundamentally
the frequency increases in sync
with the impulses, impulses of the drums. Alright? And you can
achieve you can tweak the behavior with the
range versus resonance. And then this guy here,
the release, obviously, is gonna tweak how reactive all this is gonna be
and also the attack. Alright? So this
is fundamentally a single dynamic filter
that we can control. Alright? And If you increase the range, it's going to do
wider jumps, right? See what is happening. That's
the simplest way to use it. Let's go to the next
one. Try dual filter. So this is again, this is a OG effect. As simply quickly alternate
a low pass with a high pass, simply with a single knob. Let me show you. Let's apply
this on the entire truck. Right now it's all low pass. If we go here, returns flat this area and then proceeds to high
pass everything instead. So it's kind of a double
filter, you know. And this can be useful to achieve this type of facts.
See what's happening? So by automating this, you can achieve interesting
effects. That's the point. Alright? Let's go
to the next one. More filter is kind of
a more niche effect. You can fundamentally add up four different settings in these four areas
of the spectrum. Instead of being a dual Twister, fundamentally is a quad Titer. So you have four
settings that you can interpolate by
moving this thing. No different areas of
this square. Alright? Alright. Let's ask one. We have postsuter This can be useful to remove maybe a hum noise that you
may have on your recordings. You enable notch like this, and then you go to gain -24, and then you increase this
to eight notches like this. You shrink these like this,
and then you place this exactly on 50 hertz
or 60 hertz, right? So if you are on
America or hemisphere, you can place that
to 60 hertz here. And that's going to automatically
remove the hum noise of the current that you may
have when you're recording, or if you are in Europe, you can do 50 like
those, you know? Or in general, you can
change this to remove a specific resonance that
may be on your recording, and it will automatically
remove also the harmonics of that sound.
That's the point, you know? And, yeah, so in
that, in general, this gives you, again, also a high pass, low
pass, like this. Uh kind of a general purpose. It's more of a technical thing. Or actually, you can
make this become a creative thing by actually increasing
the nachatuePositive. Now, becomes a so
called calm filter. So let me show you
what is happening. Let's apply this
specifically to the drums. Okay, see what's
happening to the drums. See what's happening?
Now it as you have these resonances triggered
by the high notches. Oh. See what is happening?
It's crazy, right? This is simply caused by the resonance and
feedback caused by the too high gain of these
bells filters, you know? And you can tweak
this behavior by increasing or
decreasing the factor. Alright, see what's happening? So, the narrow they are, the longer the
resonance is gonna be the gain obviously is going to increase the
feedback fundamentally. And the frequency is gonna determine the root nodes of
all this. Let me show you. See what is happening?
It's kind of crazy, right? Wow. Who. It's almost like a delay, right? So that's a little
secret of the filters. In the end, on a code level, the filters in the end
are simply a delay. That's why this
behavior happens, you know, because in the end, the filters also are some kind
of delay on a micro level, you know, but nobody cares, you know, you can ignore this. Alright. Yeah. That's the point. Alright, yeah. Let's go forward. Step filter is kind of a
little little niche effect, but fundamentally issue
rhythmically alternate different cutoff frequencies of your settings of your
filter. Let me show you. See what's happening? Okay. So you can set up we have
fundamentally a step sequencer. You know, every
one of these bars controls the cutoff
frequency, you know, and it's gonna
rhythmically jump through those different cut offs
on time with the music, with the BPM, so you're
going to have here. It's in control, obviously. Let's make it a little
fast. See what's happening? Increase the steps.
Alright, Max is 16. You can randomize the sps. Makes kind of a fun
effect, you know? See if you can do 16. All right. Me reduce the amplitude of this could be a little more
interesting exactly. See what is happening. Alright? Fly a glide. Can be pretty much a fun efect if I
fly this on the right spot, you can find many uses of this if you like step step
sequencers, you know?
24. Modulation: There are two types
of modulation. There is amplitude modulation
or prevency modulation. Alright. So let's start
with the simplest one. Simply volume modulation. So we go here and let's apply to the master,
something the modulation, and let's start with one of the simplest
one, which is chopper. Alright? This one here, I you simply choose a
waveform here and it's going to modulate the signal from 100% to 0%.
Let me show you. Mono. So it's happening every bar. It's closing the volume
dynamically from 100% to 0%. Let's make it a little faster. Let's go one and
fourth. See that it's on time with
the music, right? You also invert this. So, this can be finally enough, alternative to side chaining. Sometimes using
actual volume shaper can achieve the same effect
even better, you know? Phonomtic we have
the same modulation at regular intervals. It doesn't matter what
the sine chain does, phonomtc because this is
automatic modulator, right? All right, so
that's already one. Modulation. Obviously you can change the amount dynamically. Right? Let's go to the next one. Let's go with Tremolo that's a similar thing to the ampitude. We have the same control.
Let's go to one fourth again. Change the amount with a dup. See, phonomtic is doing a similar thing, but
slightly smoother. Alright, so you can automate every one of these
things dynamically. I'm gonna show you later how.
Let's go then to autopan. So this shifts the signal from left to the right
channel on time, the thing that you
choose down here. So let's go with one full
bar and change the width to 100%. See this happening? Left. Right. Left, right. Acceleretc. Let's make
it a little faster. You can change the speed. Also, the specific graph
is going to change how drastic change from left to right is
gonna be, you know? You can choose
predefined graph like this or random shapes like this. Every single cycle is gonna randomly choose a
different graph, you know? And also, you have a sign chain which fundamentally allows you chew instead of
using a infernal clock, it's gonna use a sign chain
to change cycle fundamental. It's very fun. Hey return
regular like this? Okay, let's just see the
frequency modulations. For example, let's
go to flanger, which is the main one
out of all of them. Probably heard this
effect in songs, right? This fomentar uses
a very tiny delay to create this
fade cancellation, which is pretty satisfying. Change simply the timing
and the feedback. It's simply we god, right? Just play with the
footers. Klay is very important to
change how it sounds. Ooh. Make it very slow. Or you
can choose a manual setting. All right? Then you can automate
simply the max amount from zero dynamically to 100%,
only for a tiny second. Alright. I go to the next one, which is pretty similar.
It's called phaser. This instead uses multiple
delays fundaally. So it's a little more a little more drastic
effect, you know? Wow. Again, this is meant to be used usually with
automation on the mix, you know, not like a
fixed value, you know? But yeah, if you like it, you can also keep
it fixed, right? And also not on the master
necessarily, right? Okay. Go to Cloner, which instead, as it says, kind of
duplicates everything. This can be useful on the voice. So let's go actually
to the voice. See what it does? Kinda creates this roomy
version of the voice. It's pretty useful to simulate
kind of old school voice, kind of 80s song. This is pretty much the
effect, you know, cloner. Go to the next one. Then we start to have
more drastic effects, you know, kind of more niche, like a metalizer or
rotary ring modulator. These are kind of modulations that are a little
more destructive. So these are specific
for maybe sound design, not really for
music, necessarily, right? So we can skip those. Instead, one of the
most powerful ones is effect modulator, which is a kind of a
multi effect, you know? So you place it in the
master, for example, and you can create
your own chain of multiple effects at
once in a single effect. Let's go here, so let's go here, as you can see, we
have 16 blocks here, and you can simply create
your own chain of effects, and each one can have a value automated on time
according to the graph. Similarly to how we were doing
with auto panner, right? Start with something simpler. For example, reverb. No, no. So we can automate the amount of reverb
dynamically with a graph. Mmm. See here, mix is going to be automated
with this graph going on time with
the music, right? So let's go with faster. See this happening. For example, we can start very dry the
first half of the bar and then hold a high value. Right? Dry. Wet.
Dry. Wet, you know? Mm. Let's make the river longer. Mmm Ooh. See what's happening?
See what's happening? No, no, no, no, no, no, no, no. Ooh, right? It's very powerful. Ooh. Alright. You see what it sounds like with
the whole instruments. Guess, this is really
my stuff, you know, it's it's really what I would
do in a song, you know? L you alternate very dry part with very wet part all
of a sudden, you know? You can play around with
more complex serves, you know, here, here, here. Or you can randomize
it with its button, or you can flip the curve. Mm. Right? Oh, we can
play with volume. So let's go with the volume. So we remove a module. Let's go with a simple modulation
of volume here. Okay? And then we use a
simple curve like this, and we flip it with this button. And we make it
faster? Wo forward. Let's make it more drastic. Alright. Let's close the
volume completely here. Double click.
Alright. Hands let's see what's happening.
See what's happening? Oof. And you can
automate this later. And then play with the mix. No, no. No, that's the point. That's the point, right? So,
all these things are gonna be automated to make everything a little
powerful, alright? Let's go to the next
one and see what is left to show you.
Let me go here. Studio car us is fundamentally. Oh, yeah, let me show you here. So we saw the cloner. The caar use does a
very similar effect, but slightly more drastic. A pretty semi choir
effect, you know? Then this can be very useful on voices to kind of open those, create a semi choir
effect again. Sing. Open the
special like this. You also have a studio
version of the chorus which fundamentally
the same thing here. Fundamentally two stages of
chorus, you know, same thing. Alright. I'll see
you after that. And then that's pretty much it. Finally, we have the vibrato, which is a modulation similar to the traveller
but for the frequencies. So it's going to
modulate slightly the intonation of the
sounds, you know? So it's gonna make it slightly
out of tune on purpose. For example, let's add
this to the bass. Okay? None. Okay, let's make it
a little faster. See what's happening? No, it's getting out of tune,
fundamentally. Let's add this to
the entire song. Alright. It's very funny. Alright. Okay. But if you make it low and you took the
adapt and it's spatial, it can definitely find
its purpose. Alright?
25. Reverb: Alright, so reverb is the simulation of the
ambience inside base, okay? So the simplest way to
understand reverb is to use the simplest reverb as
possible in Cubase, which is room works SE. So let's go to the voice, right? L right now is completely
dry. Let me show you. Alright. No, no, no, no, no, No, no, no, no, Okay, so let's go to the
mixer and let's apply the simplest river
as possible to the voice. So we go here and we
tie RoomWorks S E. Wm. Alright, click this. Alright, so every single
reverb is gonna have at least these parameters
in 99% of the cases, okay? So if you understand
these things, we will understand 900% of
all the reps in existence. Okay? So, the most
important thing is the reverb time, right? So, obviously, if we
make a longer rep time, fam is gonna be a
way bigger ambient. Let's see what is
happening here. Alright. Alright. 6 seconds. Mm hmm. Let's go 1 second. No, no, no, no. See
what's happening? Noun, as we go to hop sack. It's gonna be super small room. No, no. They're turning
to a church size. Mm, nonna Alright. I'll go and get
longer if you want, but it's kind of risky. Ooh. No, no, no, no, No, no, no, Okay. Second parameter, the mix. So usually the mix is
you'll see it in designs. You will either have a
single knob or two knobs. In this case, it is single knob. Fundamentally what
it's doing is to mix two signals, the dry signal, which is the non processed
signal, you know, without purp versus the
processed signal, you know? So this simply
fundamentally changes the volume of these two things
at the same time, right? So if we go 50%, we're gonna have 50% dry, 50% wet, you know? Or if you do 100%, it's gonna be all wet, no dry, and the way around. Alright, right, let's
see what is happening. Mm disabled. Hundred percent. Okay? Yeah, let's
go 50%. Alright. For long re ribs like this
you don't su to go that high, so maybe very low. Alright. So that way, you can
preserve the shyness of the signal with
also these tails. No, no, no, no, no. Alright. No, no, no, no. Okay. And then we have some
specific design choices of the room that
we are simulating. So for example, one of
those is diffusion. So you're going to
find this very often. As you know, there are more
reflective surfaces like glass versus surfaces that
absorb sound instantly, for example, a rubber or wood. So in this fundamentally
allows you to choose how reflective fundamentally
generate more reflections, you know, so the
more the higher is, the crazier the reflections
are gonna be, see? N, n. Mm sense. I kind of slanty hard to notice, but I can grant you
I was doing this. Alright, let's skip
around sound Nana. Then the pre delay fundamentally is the
time that is gonna occur between the dry signal and the start of
the actual reverb. Alright? So this is a
very physical thing. You know, when you are
in a very giant ambient, this determines the
distance between you and the walls, right? So if the walls are
very far apart, for example, in a cathedral, you may notice that after
you shout your voice, there's gonna be some
time that is gonna pass before you start
to hear the reverb. And that's the time that your
sound of the voice takes to travel physically to the walls and generate
the fractions. You know, that time
is called pre delay. So if you increase
this, it's gonna generate almost a
it's gonna allows us to hear more the dry before
we hear the wet, you know? So let's blast this you
half a second, Lucy. No, no, no, no, no. I see that now. We hear
the dry way more easily. Even if you increase the dry if you increase the mix. Oh, no. See, we still here more easily the dry thanks to the
free delay, you know? See. And of St. Chris,
this interesting. Delay effect, right? I've been around 100 milli
seconds. Alright. And finally, we're always usually gonna have some controls for the actual equalization
of the reverb, right? So we can fundamentally make the reverb brighter or darker. So and that usually is
decided by these two things, low level and high level. So that's referring to the frequency only of
the wet signal, right? So let's try to make the
reverb super bright. So we zero the low level and increase instead,
high. Let's see. Yeah, now it's super bright. Yeah. No property, right? No, no, no, no, no, No, no, no, Okay, let's try to do the reverse. So increase low,
increase high, no, no, no, nah. Mmm, no, no. No, no. Mm Then now
it's way darker. Mm. Alright, right. And these are fundamentally the basic
controls of any reverb. So just study these carefully before proceeding to
more advanced stuff. Alright, so now just
escalate by going to the full fledged
room works, right? So let's go here and
enable room works here. Boom. Okay, so let's just
play around with this. Fundamentally, this is
you're going to find the same parameters somewhere here, plus additional things. For example, we start
to have the size, control of the room, we start to have
more controls on the actual frequency for the equalization here,
here, here, right? And we can control
the actual length of the low and high frequencies
of the reverb here. So we have fundamentally sub times for those two
parts of the reverb. Alright? So let's see
what is happening here. And also, remember
that you need to do these things by hand, always. If you want, if you
don't have time, you can simply
explore the presets. So you go here and just navigate the presets
while listening to music. No, no, no, click. Right? No, no, no,
no, That's it. It's gonna apply instantly. Preset. You see
what's happening? No, no. No, no. Press for any
Young, long, short. What do we want. Try this. So round cathedral.
No, no, no, no, no. No, no, no, no. Who be
a classic Cathedral. No, no, not a virtue. No, no. Alright, and then
we simply tweak. Uh huh. Sometimes the reverbs may
have special prompters, you know, that are
kind of exclusive. So in this case, the room works has this thing here
called envelope. Fundamentally, this will
allow you to close the reverb according to the actual
envelop amplitude of the dry signal, right? So, fundamentally, even if
we have a very long reverb, we increase this to 100%, it's gonna close
it's gonna gate out the entire reverb in half a second or shorter
time. Let me show you, Lucy. So what's happening.
No, no, no, no, no. So even though this is
a 6 seconds in theory? It's now following
the dry signal. Teaching me that
when I don't sink, it's gonna automatically
start to close the entire wet signal according to these two
timings, you know? And the amount of this influence is decided by this
simple knob here. So let's keep it around 10%.
Usually I go like this. Mm non Alright Mmm. It's kind of confusing. You
know, I never use this. I t prefer to gate
a reverb manually using a side chain gate that I've showed you in the
previous section, right? And instead, be careful because some reverbs have this
control here, efficiency. So, in short, the
higher this is, the more metallic and low phi the reverb may sound with
slightly more artifacts. Sometimes you may want to have this type of
rearb on purpose. You know, for kind old school
sounds, you may want this. See what is happening. It
sounds kind of cheap, right? So if you want to achieve
that cheap sound on purpose, increase the efficiency to
100% or around that, right? Whereas, if you
want the highest, most realistic sound
that's possible, crack this down to 0%. Or don't worry because
when you export, if you keep this on, it will automatically put this to zero when
you export, alright? Mmm. You can say no artifacts. No, no. No, no, no, no. And one of the most
powerful things of the reverbs is the hold button. So this allows you to freeze
the current reverb state, and it's gonna hold
that reverb infinitely. So let me show you what
I mean. Let's make it very short reverb, for example. Like this All right. Be careful. See what is happening? It's
holding the last value. The last sound, it was doing, as soon as I pressed, hold. Alright? And obviously,
when it disengage this, it's gonna finally dissipate. And obviously, you can
animate this dynamically to hold and freeze certain nodes only
when you need those, and O is gonna react to the mixed amount at that
time, right? Let's see. No so you get the point and the potential
of this button here, alright? And finally, we have
this weird button here. This kind of a specific thing. I will not go in detail on what this is,
but fundamentally, to notice what this does, you can suppose you're using the same exact preset on multiple instruments
for the same time. In that case, maybe
it may make sense. You go to each of those copies of this reverb with
this preset on each of those instruments and press si press
this button once. You know, This fundamentally
creates a variation on a micro level of that
reverb to kind of make it subconsciously
more different, even though you are
on the same preset on multiple instruments. That's the point of this button. To notice what this
does, in practice, you will not notice
unless you can increase the efficiency
high enough. Okay. Listen carefully
this current preset. Sho make some kind of resonance. Okay? So now if I
press this button, it's gonna sound
slightly different. Alright. Here, there is
a different resonance. Right? So this kind of changes
on a subconscious level, the micro resonances
of the reverb. That's what it does.
And makes sense you press this when you use the same preset on multiple strikes. That's it. Alright,
then let's go to the next reverb,
which is revelation. So this is one level above
room works even more. You know, even though they
kind of sound the same, this is kind of slightly
better and more premium, okay? So here, fundamentally, you're gonna have the exact
same parameters. They just plays in a
different but here we start to have an interesting slider
here early reflections. Alright? So, we already are familiar with what
the pre delay is, which in this case, is here. But now we start to have
the early reflections. So this, as you can see
in this graph here is fundamentally the very
first part of the reverb. The first reflection
that returns to you after your voice hits the
wall of the ambience, alright? That's what this does. And it's going to
allow you to make this specific first reflection
darker or brighter. You can choose this with these simple low passes,
high passes, cts. And you can choose
how much of that. So you can choose the size of
that first wall reflection. Cts, is going to here show you kind of graphically
what it's going to do. And finally, you can
choose the mix of the early reflection stage
versus the tail stage. So the actual expansion into the whole
ambience later, right? So let's go 100% on early
refraction for now, like this. And you're going to see that we have only that part, right? So let's see, let's
blast the mix for now. It's kind of a small
ambience, right? Even though here,
even if you blast the max time with the main time, we're still going to have just short reflection
because we just placed 100% mix
on the ER, right? As soon as I change this, let me show you. Switch
toward the tail. See if it's happening.
It's crazy, right? So we can mix the
tail versus the ER. So let's go around 30%
because it's very long. Well we can also do, 100% tail, and that way, we
don't have anymore, the early reflection,
so you see. Then we can change some
kind of the model of the main room
simulation so we can go between these three
or none, actually. I usually like to use studio. Room size. We all know this. Shape
fundamentally applies a additional smoothing to all the micro envelopes of
generated by the reverb. So the higher it
is, the smoothers gonna be. And the
other way around. See you here. Nandan. No, uh oh. Density
does what it does. Fundamentally, if we
decrease this to zero, we're gonna hear the individual
delays of the reverb. Let's see. See how we start to hear as if it
was almost a random delay. Let's say. You see? You hear that, right? So if
you increase this obviously, we're gonna have
infinite copies. No, no, no, no, comes the proper reverb. No, no. Okay? And finally, here
is where we can make the reverb dark easily by simply low passing it,
you know, around two k. No, no. See that now
it's way darker. Here, he does. Right? In case you can also tweak the equalization even from here, you know, the color of the river from here, specifically, right? We can make it very
bright in case. Ananda. Right? Complete, open or
actually dark this way. Mom now it's complete,
as dark as possible. A no, no, no. Usually dark reverbs are less problematic
than high reverbs. You know, as long as you
remember to still high pass, everything above
200 herbs, right? And sometimes even
more than that, alright, depends on the sound. And finally, we have this
thing here, in this case, the modulation allows
us to kind of randomize slightly the intonation
of the reverb, you can avoid making it
flat sound wise, alright? So there's a slight vibrato on the reverb on purpose,
very slow as you can see, it's kind of under kind
of once every 10 seconds, it's going to do a
slight 10% oscillation on the vibrato, you know? And that's good. And finally, one important thing
is the width. The width is gonna decide
the stereophoni property, how open it's gonna feel. So as you can see right
now it's 100% serophonic. Nah. Alright, no. Let me show you what happens if
we decrease this to zero. No, no. See what is happening?
Now it's a mono reverb, which sounds pretty,
pretty, pretty okay, right? Pretty, man. Compared
to open reverb, right? Mm n mono. So. The thing with is
going to become important more in the
mastering stages. So you should be
careful not having your mix too much
serophonic Otherwise, it's going to create a
significant discrepancy between what you hear from
high quality systems that have two speakers or
small systems with one speaker like the phone or
small both speakers, right? So, you should be
careful about that. Especially if you're
going to make music and pop music
in particular. If you're going to make films and stuff that is
going to be listened on you're a sure that's gonna be listened
always on high system, high quality system
you can kind of have fun with super high open mixes. That's something that
we're going to deal with very soon in the next
section, alright? For now, just if
you want a guide, normally keep it 100% of. And then only if you
know what you're doing, decrease this. That's
the point, alright? And this nice button
allows you lock the mix while we navigate
the presets, right? Otherwise, every preset is
gonna blast this to 100%. I just gonna be very annoying. So we lock this, and that way, we can
navigate different presets. So we can say, for
example, ambience natural. As you can see, every single
one has three variants, dark, natural and bright. So let's go with natural, okay? Mm no, no, have a new rear No, no, no, no, no, no. No. I No, no, no, no, no, no, no, uh. I. The most powerful
and realistic reverb is the last one which
is called reverence. Let me show you here. Reverence.
This guy here is crazy. So this is a convolution reverb. What makes this reverb
completely different is that there is no simulation, but actually it's a real reverb sampled from real life, okay? So you can actually
use that actual reverb that was in one of
these places here. So you're gonna see you're gonna probably have a
slight different list here. But let's go with one
that you have for sure. For example, New York church, A, I was gonna show
you the image. That's pretty cool. And that's an actual reverb from this place. Let's
see here, the mix. Nana. See that? For some reason, it sounds. More real? That's crazy, right? Like this. Let's go
to a different one. For example. Let's
go to your friends. If volume is too high,
go down like this. No, no, The timing
control is still here, so it's going to apply a special stretch to
that real sample, it can allow you to
still be able to tweak the timing of
that natural reverb, but not too much. That's the point. B here, you can go to the information
of where this has been done and also the default
length of that reverb, right? Because there are
some places that are naturally longer
than others, right? Then simply tweak the size and time scaling from here as
well. So let me show you. Obviously, if you make
the size smaller, it's going to influence the
total length of the reverb. Here we go here we have the
separation, R versus sail. No. So we're gonna have
zero ER complete tail, and also the time delay, which in the actual drive and fundamentally the
pre delay, you know? And one cool feature of this convolution is that
we have the reverse switch, so we can enable the revers, and fundamentally is gonna read the impulse response in revers. So we're going to
have fundamentally a live reverse sound generator according to the time
that we choose here. So let me show you Alright,
it's crazy, right? So let's go a little
higher volume like this. Alright, it's crazy, right? And this depends on how
fast you set this up here. Time scaling, lower, t's. No, no, no, no, no. Alright? No, no, noun, uh, no, no, no. Yeah. So you can guess the
trick is to use two of these. So you use one in reverse mode. But before that, you use
a simpler classic reverb, right, which can be reverent
or another one, you know? So we set this up,
for example, normal, and we use a different preset, for example, far away here. Right? So that way, the first
reverb is gonna go inside. The second one, which
is gonna reverse it obit and then it's gonna give us the final
result, you know? No no no I know. Alright. So you can create very
interesting effects by concatenating multiple
reverbs at once. Okay. Be careful
because convolution is way heavier than the
algorithmic reverbs, right? So if you have issues
with the processor, don't overuse too many
convolution reverbs, alright? And finally, we have another one here that you may not have. But I'm going to show you
just for completion here, Schimmer is
fundamentally a new one that you crazy long
ethereal reverbs. So for example,
let's change also, let's use zero. Let me show you. No, no. Slightly more experimental
rep, you know, fundamentally already with
the ones I showed you, it doesn't matter
which one you have, even if you have simply
room workors SC. If you know how reups work, then you can do amazing things. And in the end,
it depends on how much how you automate it, for example, and the actual
music idea that you use. That's the point, alright? Don't worry if you don't
have some of these.
26. Pitch-Related Effects: Alright, so let's explore the tools that you
have to apply, real time pitch
shifting in Q base. Alright? So let's see
what is happening. We have the usual
arrangement here. Bernal let's just solo the
drums. The boys, okay? No, no, no, n. Alright, so the first
one we're gonna use is simply let's go to the pitch
shifting section here, and we're gonna use Octaber
here, this guy here. This is pretty cool
because fundamentally applies a parallel signal path, and each of the
shoe lines is gonna transpose the melody
down one octave. So let me show you. Let's Non. So what is happening? Na, na, na, na. Alright. So it's making
some kind of bass line. Thanks to the boys. That's it. Automatically. So as long
as the instrument is modophonic so it makes one
melody line at a time. This will work perfectly. And you can mix the
two lines individolin. Nana, we are only one. No, no, no, no.
You can have two. Nah, nah, only the second one? No. Or, both. No. We can mix the direct
signal, obviously. Nah. Alright, let's go to the
next one s. Pitch correct can surprisingly be used
for live pitch correction. So it's not just a
auto tune effect, that actually can be used to transpose instrument one octave up or down to where we want. So if we go back to the
Octaver right now to the picture correct that we're using right now for the
auto tuning, right? As you can see, we already
transpose integrated. So as we did already to
make the female voice, we can simply do this
on our main voice. Let's go for example, one down, -12. And let's see. Se what's happening? No, no, no, an, no, no, Alright. And yeah, and then you
can tweak the formats. So the formats are fundamentally the harmonics of the sound, which are the
subcomponents of a sound. That's what formats are. And yeah, so we
can make the voice even more masculine or feminine. Let's say. No, no, no, no, no. You see what it's
happening. Oh, no. So we can kind of
doing some kind of robotic funk type
sound if we want. Alright. Yeah. That's the point. Yeah, yeah, yeah, yeah. Looks very good if we layer a second layer with the
main voice with the strick. So we keep this
original, actually. And we apply this actually
to the second voice. So we go here, female. No, no, no, no as well, right? Alright, let's see. We
increase the volume. No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no Oh, no, Alright, right. Let's check the
next one. In case you have innuendo or Cubase Pro, you may have also this
guy here, pitch driver. This is another way to
brutally transpose something. So this is more for
general purposes, right? So let me show you. You
50% will do one octave. You can see sound
again different. Oh, wow. All right. Alright. Alright, right, right.
Let's go to the next one. Let's see what is happening. We have voice designer. Again, you may not
have this more to make master or robotic
monsters voices. Let me just show you
quickly what it does. Nah, nah, nah, nah. Again, we have D
tune, again, formats. We're very familiar with these things at
this point, right? Yeah. Mm. Yeah, again, sounds different.
That's the crazy things. Even though we're applying the
same processing, you know, transposing when octave
down or up, as you can see, every single effect
sounds different, which is the reason
why I invite you to install free plugins
that do the same thing. Apparently, but you
will end up discovering that each one is unique.
So that's the point. Yeah, and finally, we have
the harder to understand, which is the vote coder. Alright? So let's go here. And let's see how we
can use the voce coder. Let's solo the voice again. Like this Voc coder. So
let's see what we have. The book holder fundamentally
is an effect that works with two simultaneous
signals, alright? One signal is called
carrier and one modulator. The one that we actually
hear is the carrier, and the modulator,
as the name says, is the one that is
going to modulate the spectrum and the amplitude of the carrier at the same time. Okay? So let's see
what is happening. Right now, we're going to hear, obviously the voice in theory. Mmm. Kathy There are two
main types of okcder. Today, we're gonna explore
only one type because the cue base vocoder can do
only one type of voc coding, which uses fundamentally
the sound that we apply the vocoder to as a modulator. And the carrier, instead, there's gonna be a pre
internal synthesizer sound that is inside this
vocoder, right? So we cannot choose actually
two independent sound. We can only use a internal
synthesizer, you know? So let me show you right now, we're hearing we're gonna hear probably some synthesizer
sound, no see? Alright. And as you can see, it starts to be already in
sync with the voice, right? Okay. As you can see, the
default presets pretty boring because
it's a single note. So, and the reason
is because right now this voc hoder is
expecting a medi signal. And as you can see right now is simply a fixed note like this, we can change it in theory.'s
gonna do that note. Right? That is very boring. So let's see how we can
make this more interesting. We first of all, change
this to external MDI. Okay. And now we actually
create a midi track. So we go here, create
a new track like this, Midi or we can
create it from here. Okay. So let's just
create it this way. M. And we're going to choose
as a midi output the effect. So we search khoder. And as you can see,
it's going to detect the midi input of this coder, you know, so simply select
it and simply give a name. So let's call this vkhder notes. Like this and confirm.
Alright. Okay. So now, wherever we do, wherever we play on this
midi track will determine the actual exit melody that we hear in real
time for the voice. Alright? So, you know, the words we're gonna hear this synthesizer as if it's gonna sing or talk a little bit like
the top punk music, right? So let's just make sure that
the media is not muted. Alright, let's see
what is happening. I'm gonna plug in my keyboard. Okay, let's put a
couple seconds. Alright, you probably
heard the plug in sound of my system.
And so let's see. Alright, the play random note
until you see the signal, and you can see this
thing blinking, which means that indeed this minbi signal is arriving all the way
into this book coder. Alright. So let's start you play a single some instruments,
some live chords. Alright, give me a second.
Let's see. Alright. It's working. Whoo. It's crazy, right? So
right now I'm playing. I'm just holding it
in the notes down. And if the voice sings, it's going to open the
signal of the synthesizer, and it's gonna sound like a
robot singing fundamentally. That's the fundamental principle of the old school
vocoders, right? So if you learn this principle, you're gonna use 50% of all
the vooders in existence. Alright. Alright, so let's
see what is happening. We'll go here and let me just play a little
performance. Let's see. All right. Okay. So now just give me a second
to do some editing. So I'm gonna cheat a little bit. I'm going to simply
show you already a track that I corrected. You know, I simply place
the notes on time. You know, I remove the
notes In didn't need. I'm gonna simply
unveil a track that I already created
earlier right here. And I'm gonna simply
apply the medi here and we'll remove this. Okay, let's see
what is happening. Now we simply niche tweak the
settings of the bow coder, alright so we simply
play with the bands. That's the main thing. This is gonna change significantly
the way it sounds. See how it's crazy? Let's
increase the volume of this. Wow. This is what's happening. Just play around
with these knobs, you know? It's a trick. This knob is very important
because it's gonna control the reactivity of
the entire Go Code, right? Okay most funny thing is simply change the band, and it's gonna change
fundamentally the harmonics. If there are almost multiple
voices at once, right? You can restore
the dry signal in parallel with the vocoder
with this knob here. Oof. Alright. Alright, let's just play it
all together on the track. I All right. So this is how you use
voxcders in short. There is a second major
type of vocoder where you simply use two actual independent
signals at the same time, and you send one to
the left channel as a carrier and one to the right channel as a
modulator or vice versa. So that but unfortunately, this book coder is not able to do this thing
to date, you know? So maybe when you
watch the course, that this feature
has been added. But for now, this
is not possible. But you can use this book coder, as an old school type like that punk style to achieve
this type of effect. So you can achieve the
talking robot effect, right? Alana Arana one last thing. When you use this type
of setup that requires MDI signal like this to
be sent to an effect, it's very likely that you may accidentally mute
this medi track when you solo some tracks, let me show you see
what's happening. If I solo the voice, right now, it's not working
because the media has been accidentally muted. So when you want the mini, you always be playing, even though you solo
specific tracks, you can do this feature here. If you all click on
the solo button of the Mini, it's gonna do this. It becomes D. So when you
do D means solo defeat, which means that it
doesn't matter what I do. It doesn't matter if
I mute other tracks or if I solo other tracks, this track is always gonna play. Alright? So this is
very likely that you need pat on mini
tracks like this. So let's keep playing. That
working safely. Solo this. Certainly that is gonna
keep working, alright? I think this mini
track is necessary. Should make the booher work. I make sense that
is always engaged. Oh A
27. Stereophony, Phase, LR vs MS: Alright, so before we dive deep into the stereo opening
tools for a key base, we need to understand what
phase cancellation is. Before we do that, we need
to understand what phase is. And before we do
that, we need to understand what a waveform is. But, you know what,
let's do a step back. Let's see what sound
is in the first place. Alright, so sound is
a physical phenomena where it is a pressure change in the atmosphere, you know? And this pressure change
can be transmitted through air or water
or whatever you want. Okay? So now that we know this, let's see what a waveform is. So the waveform is fundamentally the representation of how this pressure change
happens, right? In real life, the
waveforms are spheres, so they can expand
omnidirectionally, you know, depending
on the frequency. So the lower the frequency, the more omnidirectional the
sound are, the higher it is, the more directional a
sound is, but in the end, they are just tiny spheres that try to expand more,
more more, okay? So that said now just see what
phase is fundamentally is a way to indicate a specific point of this entire waveform we
are talking about of any. Right? So it can
be, for example, the beginning of a waveform or the middle point or the end. You know, when we
talk about any of these points of the
waveform of a sound, that's a point of the
phase of that sound. So, fundamentally, when
we talk about phase, we imply the concept of time. So it's something that
happens over time. Alright? So we can make a snapshot into that
waveform, and we say, Okay, we are talking about
this precise point into that entire waveform, and that's a point of its phase. Okay? Now, let's put together all these concepts and let's
go into practical terms. When all of this happens
in a softer like base, fomtal wouldn't
you be careful to one phenomena called phase
cancellation, right? So when two sounds have
the same exact waveform, and though they have
a opposite phase, which looks like a mirror
compared to the other sound, podamtal they are going
to be summed up together, and the result becomes zero. So that's phase cancellation, and it's one of the
worst enemies when you make mixes or mastering, okay? It kind of completely
destroys your music. Okay? So we need to be
careful about that. Even though that can
be a cool technique when you synthesize sounds
and synthesizers, right? When you make music under
a clarity standpoint, we need to be careful
about this concept, okay? Alright, so now
that we know this, let's do a technical
example first, and then we go to the music. So first, let's apply
simply so you can see here, we have our usual
arrangement here. Everything is fine. At this
point, we know the song. Okay, so now simply I'm gonna explain what these
two channels are later. Don't worry about that.
Simply just know that all the tracks
right now are going through this theater here. And here, we're gonna simply
apply a test generator, which is one of the
tools in Kebase, right? So let's see this
is gonna generate a tone for a test for now. Alright, let's see
what is happening. Okay. Let's make this
tone slightly lower so it's not Just decrease
your volume in cases. This is deafening,
okay? Alright, so simply is a sine wave, okay? We don't need to know
anything about this. Simply is a low tone,
alright? That's it. So, so this track
has been muted. So all these channels are also going through this
second fader here, which is the same
exact thing, okay? Mm. Okay. But there's a slight difference and to notice what is happening, let me just pull up
one of the analyzers. So we go here to the analyzers
section of base here, and we open supervision here. One is the waveform, Analyzer and one, I'm going
to show you later what it is. Just use this for
now. Alright, so I'm going to open a test generator. Okay, let's see what
is happening here. Alright. Okay, so this is our wave right now,
as you can see, okay? So this is measuring the showing us the waveform in
real time, okay? Now play the same tone
on the second track. The same tone in
theory, you know? Alright. You see what happened? Now the fundamentally
they disappeared. We hear a super quiet version of this, which is
crazy, you know? It doesn't make sense, right? So these two test generators are right now making
the same exact tone. So if I mute one of these, we will hear this again, right? But as soon as I play
these simultaneously, they cancel each other. What the hell is going on here? Right. So what is
happening is that one of these two has
the faith inverted. So since they are exactly
the opposite of each other, they are simply
canceling each other and the volume gets completely
destroyed, you know? The way I'm achieving
this is to simply invert the phase from
this channel here. So I open the settings of
this second fader here, and I pressing this phase
180 degrees, you know? So this makes a mirror of that sound,
fundamentally, okay? So, this obviously is
a scientific test. So you will never have perfect cancellation like
this in real songs, right? But it's just to
make you understand the concept of
phase cancellation. So we need to be careful
about this, alright? I'm gonna show you how
to avoid this issue as much as possible in
a few seconds, okay? So, now that we know this cost, so let's go let's restore. Okay? Let's first
listen to the song. I'm gonna play the second fader. Let's see what happens. Silence. It's crazy, right?
So, even though these two independently,
they sound perfect. No. I'm gonna say I
play that together. They cancel each
other in real time, and the consequence
is complete silence, which is crazy, right? We completely lose the song. So now we know that
this is actually the inverted version of
the normal track, right? And now you're probably
wondering, Okay, how does all of this relate
to the ste opening of a song? Well, let me tell you one thing. Every single song usually
has huge channels, you know, left and right channel,
okay? That's a stereo song. Okay. But actually, there
is also a second way to interpret the left and
right channels in a song, and those are called
mid and side. So the mid signal is fundamentally the
sum of the channel. So in other words, is just the signal that shows what the two channels
have in common, you know? Instead, the side
channel just shows us what is the
difference between the left and the right
channel, you know? So these two channels together just fight against
each other all the time, you know, and to
produce what we hear and pull songs, you know,
let me show you what I mean. So let's change this something that makes more sense
for this purpose. Let's go hear paso scope. So this is one of the most
important scopes that you need to see sometimes to understand what
is happening, okay? So as you can see, we have
the left and right channel. Alright. So Now let me show
you what happens. We have the stereo
and answer here, and I'm going to turn
on the mono while we hear the song and watch Kathy what happens here in this graph. Three. One. Oof. See
what's happening? So what you are
hearing right now is the pure mid signal of the song. Just the modo part. Automatically what is in common between the left
and right channel. That's it. Okay? This is the Mt. Awesome. Now, we know this. Let's actually rename this Mint. Alright? So this is gonna play simply the mid signal, okay? So how do we hear how do we manage to hear
the side and tell? So automatically the difference between the left and the
right channels, right? So to achieve that, now
that we know the trick about the inversion of the
phase, we can simply do this. We play the full song in stereo mode on the
second fader here. And we actually invert
the phase of this. And consequently, is going to do fundamentally a
mathematical operation. You know, it's going to do,
okay, so stereo version, minus the mono, which
is exactly the same, but minus the mid, right? Consequently, we are going
to hear only the side. It's simply a
mathematical operation. So let's see if that's
true. So let's see. Now I'm going to solo
this after a few seconds. Theme. Alright. Woo.
See what is happening. So what you're hearing right
now is the side of the song. So we Okay. So this that you're hearing is the difference of the left and right
channel right now, okay? Which is fundamentally
all the reverbs, all the effects that are not at the center of the
stereo field, you know? The mono, the mid and set. Alright. Et opsite signals
for thematic, you know? If I solo simply this channel, obviously, we're gonna
hear the full song again. So until we sum this
to simply the mit, they're gonna do a
difference in real time and If you don't fully understand this concept, still, don't worry about that. Simply remember that the Mt is the center of
the song, alright? And this side is
all the reverbs, all the stuff is a
little crazier, right? So that's in practical terms. And if you want to take weight, be careful not to use too
much reverbs on your song. Otherwise, it's gonna
cancel too much phase, and you're going to lose
a lot of volume when people listen to song
on a small speaker. Alright? That's the issue, because speakers usually on
phones become mono, right? So they're gonna fundamentally exclude all your side signal. That's the point, okay? So we need to be
careful about that. And the way to understand
if your song is too much stereophonic is to just observe this graph
here, you know? So as long as this signal
is between the L and the R, so in this area here,
you're safe, you know? And the other way around. So if it's actually
mostly outside of these two in this
area here or here, you need to be careful
because all that stuff is not going to be
heard at all when they play your song
through a mono system like a JPL speaker
or a iPhone, right? So we need to be
careful about that. Alright, right? So let's see
how we can prevent this. So one way is you simply use a stereo enhancer and
control the stereo field. So now let's simply
play the full song. So we can simply now
mute this finally. And so, actually
this is going to be returning to be simply
the normal signal. Okay, and we place
a stereo enhancer. Simply on the master before
the analyzer here. All right. And we can use this
tool to kind of shrink. Pmticly reduce the volume of the side signal in favor of
the mid signal, you know? So this is gonna shrink. Consequently, the
stereo field of our song progressively. So
let's see if that's true. Scrap. You see how
it's becoming tighter. More more until it
becomes straight line. Very tiny one. Like, there's
some songs that are lily like this. We lasted. Obviously, we get a
super open feeling. But it becomes more
dangerous, right? See you here. Losing a
lot of stuff here, right? Should be calf. 100%. It's
not too bad right now. Let's just shrink a little bit. 70% 95. Alright. Alright. As long as, for the most time, all the signal goes here in
the safe area, it's fine. You know, if it temporarily goes slanty outside, that's fine. I mean, that's kind of
a trade off, right? Otherwise, if we make
your song too tight, it's gonna sound too much
close, too much mono. Unless that's a creative choice that you do temporarily
on your song, you can also do that by
automating this later, you know? What? Yeah, yeah, so there's also
another graph very useful, which is called correlation. This is fundamentally
the same thing, but represented by
a slider that goes as long as it goes from
zero and one, you are safe. And the other way around. So we apply too much reverb, it's going to go to
the negative area. So from here to here, all
that stuff is going to be deleted when we play
through a mono system. Let's see. Alright. As you can see right now,
it's very safe. What p please? Again, the
stereophony? What's happening? Such a lose stuff. Till it becomes very dangerous,
very dangerous. All that stuff is gonna be
completely muted. We do mono. Can you guess what happens?
Completely safe, right? Now that we have
all these concepts in place, let's
actually have fun. So we go here, and
that's already the first tool that you can use sometimes even creatively here. Alright? Simply by
automating this, you can control this steviopony the openness of your song
dynamically if you want, right? You can simply automate
this guy here. Alright, so now
that we know this, let's see the other
something else. Let's go here, back to the
effects of the steviopony. So one of the most important
ones is the imager. So this allows us to control the topony of four areas of this spectrum
independently, right? So that's pretty cool
because we can do this. Right? So we can isolate
all areas of the spectrum. We can make the high frequencies
here righter, right? For exam molecules. The blasted. 200%, which makes them a little dangerous. See also the overall. What, for example? One
very common trick is to make the base under 200
hertz completely mono. You know, Base frequencies don't need to be
necessarily open. Actually, they usually do they hurt your mix if they
become too stereophonic. So for safety, let's close them completely to
mono. So let's do that. Complete 0%. Does it. Alright. Alright. So let's just combine all the
things together. No making the slightly more
close? What's happening? So you're not forced to close all the stereophoni
of the entire thing. You can actually
prioritize the area of your spectrum and just blast the stereophony
for that area. And then the rest, actually, you can do a trade
off, you know, we make the base mono, ictus and actually this
area completely open. And then the rest
kind of in between, you know, 50%, 60%, actus. And in the end, the sum of all these things
is what counts. In fact, as you can see, the correlation analyzer
shows us that we are safe. Alright. Sometimes, it goes under zero for 3
seconds it's fine. No way, but that's it. I guess you can still shrink the
overall to re opening. Sir. Aw. You know? All right. That's crazy,
right? Alright, right. These are things are kind
of tactical effects, so you don't need to see those. It doesn't matter,
you know, for sure, I guess you will have at
least a stereo and answer. So this is the most
important one, actually. So as long as you
understand what this guy does, you're
fine, you know?
28. Envelope: Alright, so before we see
what envelope shapers are, we need to understand
what envelop is in the first place, right? So let's is a nice whiteboard and let's see what is happening. Okay, so as you know,
every single sound in existence has a
fundamental role. It's not silence. It means that it's gonna go
from a state of silence, which is this
straight line here to some kind of upper volume,
you know, at a certain point. You know, this is something that every single
sound respects. You know, it's a kind
of physical rule, you know, like this. And then eventually
it will kind of dissipate its energy back
to silence, you know? Alright, so now that we know this, let me
show you one thing. Every single sound
can be divided in four phases of volume. The first phase is when the
sound goes from silence, to its highest peak, which is called attack, right? So this is where it
reaches the highest point, alright, the highest
peak of volume, alright? Then there's a second
part called decay, which is the first initial
dissipation of the energy, you know, slightly, but
not completely to silence. You know, it kind of falls down around this
area, like this. By the way, this is time, right? So this line here, fundamentally, is the
passing of time, alright? Okay, so then after
this second part, there's usually a sustain part where fundamentally the
volume stays pretty flat, you know, kind of
consistent like this. And this is called sustain test. And finally, there's
the last part where the sound finally
goes to silence. And this last part
is called release. R. Alright. So this
nice thing here, ADSR is a fundamental rule of
every single sound, right? So obviously, this is
not a strict rule. It means that certain sounds are made just of cube phases. So you may notice that
some sometimes there are sounds that have a
very sharp initial attack, but then they immediately fall
down to silence like this. So it's technically
divided inte phases, you know, like this A
and D, and that's it. Or certain sounds
may have, again, a very slow attack, for
example, like this. And then they immediately
decrease slightly. Actually, they decrease
all the way down to maybe a very low
level like this, and they have a long
sustain like this, and then they have a very
fast release, you know? All these four arcs are
completely dynamic, and according to how you stretch each of
these four phases, you can obtain every single
sound that can exist. You know, that's the
point. Okay? Alright, so now that we know this concept, let's go to Q base, and let's explore one effect
called envelope Shaper. So go apply one effect
to the master, alright? Pull up shaper here. All right? Let's see. Right now, let's just
solo the drums, alright? Okay. By default, this
doesn't do anything, okay? So we can start you
see this graph here. By default, doesn't do anything. So the sound is simply
not changing, okay? But this type of effect
doesn't have a threshold. As you can see has some kind
of automatic threshold, depending on the actual
envelop detection that is inside the
sound itself, right? So in this case,
since it's drums, it's going to detect
all the actual peaks of every single drum
attack that we have. So, in other words, we can enhance the impulses
of this performance. Let's see what is
happening by default. So now, as a normal, alright? L suppose we want to increase the attacks, alright? Let's see. See what is happening? Speaking
a little faster as well. Alright, now it's definitely
more apparent. You see that? It's kind of increasing the clicks of every
single attack, you know? Okay? I search you through the
base, also in the mix. Alright. You see that? Now
it's more clicky, right? It's kind of. Let me
show you without. It's kind of flatter
like this, right? Kind of smoother, but
with less attack, alright? Let's increase this. Okay? Obviously, this is too much because it's
gonna increase a lot. Gonna trigger the
limiter a lot, alright? Okay. See the release. The
release in ta is gonna close the signal
earlier than normal. Atitly gate the signal back
to science more easily, let's see. See
what is happening? It's almost like gait, in
this case, right? Alright. And we can increase the length, the reactivity of this
effect by increasing this. All right. But if you want, we can also make every release
longer than normal. So we can actually go positive
with the release, lets. And fundamentally, it's going to increase the sustain
of every single sound. So this is happening. So
it's kind of persisting longer than normal. Alright. And we can do the
same for the attack. If we go to negative
numbers with the attack, we're going to
fundamentally kill the clicks or every
single attack. So if we do this, we smooth out every single attack and become some kind of fade in, let's see. Completely destroyed. But, you know, for
creative purposes, this is a very powerful tool,
you know? That's the point. You can completely
mold how the envelope of sound is for this
instrument here. I always creates
a pumping effect, especially since the whole song. To make it super clicky. All right, right. So that's one use of the enveloped shaper. There is also a
multi band version of this that allows us to apply a independent enveloped
shaper setting to the four areas
of the spectrum. So let me show you we shape search shaper here and
we can click this guy. We are fundamentally
simply four bands, right? And we can apply four settings independently to each
part of the spectrum. You know, maybe the base
can be more clicky. Maybe the highest frequency in set can be smoothed
like this, right? Is the gated. If you can leave, the media perioc untouched. See what's happening? This is cool because we also have
the sensitivity knob, which normally we don't have on the single band version of
the envelope shaper, alright?
29. Upward Processing: Now that we are aware
of what the envelop is on sound and also what
the envelope shaper does, let's actually go a little
deeper to a parallel topic, alright, which is called
upward processing, okay? So before we go to
the theory part, let me just show you
one weird thing. If we go here to the
default envelope shaper, as you can see, nothing
is being set right now. The sound is going
to sound normal. If I simply use a positive
number for the release, let me show you this.
So this is normal. Slowly increase this. What's
happening. The music. Start you sound louder, right, as it was kind of
way more compressed. We're kind of compressing
the dynamic range. How is that possible? Because we're now doing it
with a classic compressor, like with all the method that I showed you thus far, right? So, this is a special type of compression called
upward compression. Before I explain you technically
how this is possible, let's go to Let me just explain
you some theory, right? So as we know, all
the dynamic press are use this curve here, which fundamentally
represents the way the volume gets changed. When you see this
line here, it means that it's not being changed. It's kind of a
linear volume that arrives from the input and go
to the output is the same, you know, one on one, right? But we already know that if we apply the classic
compression, there's going to be
some kind of knee here, and that means that the volume above that point,
which is a threshold, is going to be compressed, it's going to be squashed, so it stays under
control, right? So in that way,
we kind of reduce the dynamic range in
all this area here, and that allows us
to actually then increase the volume
overall with a gain, and that makes us gain
some loudness, right? So that's the way we use
the compressor so far. Then we saw how the gate work, which fundamentally uses,
again, a threshold. So while the volume goes down like this, at a certain point, there's gonna be some kind
of threshold like this, and there's going to be, again, another knee this time closes the volume downward
like this, right? And that fundamentally
expands the dynamic range. So that's the opposite of
what the compressor does. So that's the expander
or the noise gate, okay? But, have you ever
wondered if there's a processor that does this
type of knee like this, right? So instead of going
down like this, what if we actually do this type of knee
like this, right? So, this is what the envelope shaper does when we increase the release button. So, fundamentally,
instead of closing the signal quickly
and consequently, acting as an expander, it raises the volume, you know, in an abnormal way. And this is called
upward compression. And the advantage of
this type of compression is that we don't
touch the peaks. So the peaks stay intact. You know, we don't ruin those, and we just sacrifice the quieter parts of
the song instead. You know, we kind of compress
this area. Up the volume. And consequently, then
we can again raise the entire volume up with some gain and gain some
blindness, you know? So this here is
what is happening where we increase the release on the envelope
shaper, you know? So this is secretly a
upward compressor that we can use at any time to increase the loudness
in a different way. You know, without
sacrificing the peaks, that's the point.
Alright? Let me show you. It's really crazy because
it's plus six. It's crazy. It's wealth and more. The peaks are still there. I still intact. It's crazy, right?
Alright. Alright. So now that we know this, let's talk also
about the opposite. Alright? So so far, we saw this knee here when we're
talking about compression, right, because it's the
downward compressors, right? But if we actually end up with some knee
that looks like this, this thing here is
going to become a upward expansion
instead, you know? So this here is a second type
of expansion that becomes available already from the envelope shape
when you do this, when you raise the attack this. All it's doing, in the end, this is a kind of expansion, but upwards, you know, in the peaks of the sound, not in the quieter
parts, you know? So we expand the dynamics by increasing even more
the peaks of the sound. And here, the length is fundamentally how smooth
that peak is going to be. You know, if you
make it very short, it's going to be
very short impulses or the other way
around. Like this. Alright, so let's
see if that's true. So, in other words, here, we're going to see a
higher peak than normal. So let's see,
normally, we'll see how Let's sable all the
limiter first second. Let's see. Let's make
it look quieter. Alright. See what is the
max speaking normally. But anyway, to reset this,
you can click here or you can press zero on
your number pad. Alright, so as you can
see is a minus six. Yeah. But as soon as I increase the attack on the
envelope shaper, let me show you what happens. It's crazy, right? Now we're increasing
the max peak. What without changing
anything else? And this is technically increasing the dynamic
range of the song, right? So, so that's the
principle all this. So right now, we're
using, in other words, a form of upward expansion,
which is crazy, right? And it's all here.
This processor here is able to do both things. You can do upward compression. And upward expansion. In a way, here, we're gaining
some dynamic range. But at the same
time, we're losing some dynamic range by increasing the upward compression with the release here. You
know, it's crazy. Then we can start
the light limiter. This is the final gain from
here. That's it. That's it. This can strike sure
maximize the final volume of track in an easy way without using external plugins. You
know, that's the point. Alright? And now
that we know this, let's see a crazy plug in, which is called squasher. So we go here and we
search squasher, okay? And uses all the types of
compression at the same time. So we have a downward compressor
and upward compressor, and we can operate on three bands separately with
three separate settings. And we can choose how much of each type of compression
for each band. That's crazy, right?
So let me show you. Okay. We can, for example,
have the highs, the high frequencies
very compressed, the downward, but
we can keep those. So we can apply upward
and downward compression. At the same time, we can
choose how much of that. You can see this
allows us to make a track very bright,
for example. Crazy, right? You can keep the downward compression for the down
frequencies very low. See what happens, I kind of allows us to use
upward compression more. We increase the down. Then
we can mix everything, like, you know, the amount. You gonna make this track sound overall way brighter, you know? See here, here are the
things I'm talking about. You know, here we have the
upward compressor ratio here. Here, we have the downward
compressor, you know? This effect is specialized on the two types of compression
at the same time. Alright? Amazing. So, this sounds amazing on an entire master track or even
specifically to the voice. In fact, I did use one on
the voice here. Alright?
30. De-Esser: DSing is fundamentally
a type of compressor that compresses only a specific tiny range
of frequencies, and only when the
singer pronounces problematic consonants that are very sibilant and very annoying. Usually, these are the S, the C, and then all the
other consonants that have a very similar sound. Maybe also the Z,
you know, you know, all these sounds are very annoying because they
are simply white noise, which is very annoying
to the ear, right? So this type of compressor
called deer, fundamentally, it's going to
compress only those, and it's gonna keep everything else intact, and that's it. Alright? So this is
something that you can apply on voices
mainly, but not only, you can apply that
this de ser on whatever sound has this
type of issue, right? So it's not uncommon
to use a DSR, even on the entire master, you know, very often, right? So for now, let's use the
simple case of the voice. Let me just first
play the entire song, this new song Without
dater. Alright? Be careful to listen the problems of the voice
with the consonants, alright? Let's see. Second, trans trumpet. Alright, so we have
this new song. As you can see,
there's an issue. I sang purposely as much as possible with
those consonants that are very
problematic, right? See what is happening. Jon Okay. So there's a way to keep those consonants under
control using the DSR. So simply apply a nice the ser. So we go here to the effects of the voice and we
search the answer. That's it. Alright, just click. Okay, looks like this.
And as you can t, we're going to select the
range of frequencies first. Usually these problematic
consonants are around 2.5 k to around seven K. You know, that's the
approximate range. Sometimes a little
high, a little lower, and depends on the genre and the specific voice of the
person that is singing, right? And be careful that this
is not just for voice. This problem sometimes can
happen in other sounds, right? So you can use this as
a general purpose to remove weird resonances or um, sibilant sounds on any sound. Alright? It's not uncommon to use this on an entire
master, for example. So in this case, we're going to use this
on a voice. Let's see. So we select the
range, first of all. Second, turn, turn turn,
turns you can see, it's triggering
already. And mes. Go with the standard
two, 27k first. Centrum point then we
increase the reduction. Then as you can see, there's automatic threshold mode,
which is pretty cool. As you can see, you're
already doing the job for us. Initially search the
threshold manually. Sometimes this might be
necessary in case you want to force the ester to work more
on the time, for example. Syntro we can make it more
reactive or more smooth. Are you making styles lower? Si, chung, t to Alright, you see that now, the
siblings are going away. And, yeah. That's it.
Let me show you without. Transcend. Yeah,
we're more annoying. And then, o zone with chung, to, transcend listen
with everything else. Ozone As you can see, we don't sacrifice too much
material from the voice. Simply cutting the
consonants, you know? Let's see without. You see that? Immediately. Problematic. With Alright. You know, under control. That's it. You know, sometimes you can change this slightly, you
know, according to the voice, but usually this
is kind the range where this works best, you know? Alright. And yeah, let's see. Alright. That's it. You can also solo the frequency
range frequency if you want to listen these frequencies specifically. See
what is happening? And also, we can kind of ignore completely
some frequencies. For example, we can use the internal side chain to ignore. For example, we can actually ignore the lower frequencies
so we can kind of place the filter around here and that's gonna help the
detection even more, you know? Okay, and that's it. Let's go
back to the entire sounds. So yeah, it's kind of a
relatively easy effect to use, you know, not too
much of an issue. Maybe the comparisons
too much at this point, so we can reduce
it a little bit. Be careful not to use too much. Otherwise, it may become an
issue of inteligibility, especially if you use this
on a talking voice, alright? First thinking voice
is kind of free lane, you know, nobody cares. Alright. And then we can let's use also
this on the entire master, for example, to
reduce the siblings of the entire song, right? This happens, for example, if you use a heavy
compressor like the squash or the maximizer, maybe a good idea to use a tiny DS sync after everything before
the limiter, though. So we go down here for
the limiter and we change this in this case to maybe a slightly
higher range around this ten to 12 k around here. Drums's gonna kind of tweak slightly those
additional sibilances that may be created because
of the compressors, you know? Yeah. Maybe in this case auto. Don't use too much compression. Keep it around minus
six min three for the master. Husk range. Yeah. That should
be good enough. Just enjoy your music. Alright?
31. Compressors Without Threshold: And. Alright, so let me show
you something interesting. There are a couple
dynamic processors that don't work at
all with threshold, but simply with a input amount, these processors
usually are inspired by real analog dynamic processors that usually have
simply a input knob. And according to how
much gain you push in, it will kind of
trigger some kind of gain reduction, you know? So we're going to check
out a couple of those that you may have in QBse, alright? So let's go here. Yeah, so
we play our usual song. Let's go shoot the
inserts of the master. We're gonna go to
the processors. So we go to Steinberg. First one, I'm going to
show you is simply limiter. There's one here,
limiter, alright? Let's see. Second theater is an threshold. We simply have input, and there's already some
gain reduction going on. The limiter is
fundamentally a compressor, but with infinite ratio. So instead of having a
diagonal line in the knee, it's kind of a straight
horizontal line. So it cuts off the signal as
much as possible, alright? And, yeah, so we can simply
check the reactivity of that. It becomes a little more fast, more reactive to the drums. Or you can keep some can keep
it smoother if you want, or just enable auto. And then you can simply
decide how much it's gonna pump. You see
what's happening? Obviously, it's gonna
squeeze the violin like crazy if you blast it. But we also lose all
the peaks, right? For some genres or
some parts of a song, this may make sense, you know? Alright. Yeah, so that's something ties that you
may have in your list. Then if you have base pro
you may have some of these, for example, the vintage
compressor, this one here. And as you can see
this looks bad ***, which is a simulation of
the analog cool compressor, as you can see
again, no threshold. Simply a input knob here. So, the more we
increase this, the more it will apply compression. Alright? You make it very
reactive again, like this. Choose a ratio, in this
case. No threshold. You can enable this
noise, button punch. You can preserve some of the
original fix by increasing the attack, slowness, like this. And we can also
apply hyolpression, as you can see here.
Which is not bad. Then finally, we can blast the
final output a little bit, which kind of compensate
the gain reduction, right? Alright, not bad all, right? And we can also find
very similar one, which is tube compressor. So let's go here. So there's
again, no threshold. We increase again inputs. You can see how much
it's compressing. In this case, we have the drive, which adds some kind of
interesting saturation. You know, to create more
harmonics, you know, kind of make the entire
master kind of radio ready, you know, increase the preserve some of the original peaks,
make it more reactive. Trees their amounts. And so we have this
character here, which is the shape, the way the drive is gonna modify
the sound fam, you know. It also little bits how the compression
aggressiveness happens on the sound, you know, yeah. We also have a side chain module in case we
want you kind of ignore some parts
of the spectrum for the triggering of
the gain reduction, as we already said in the
chapter about side chain. First time, we can ignore
the kicks with a high pass. Sit now is literally
ignoring the kick kicks. Or we can actually process Oli according to
the kicks this way. At now is oi triggering when the kick drums are arriving into the
signal, just go. See what is happening?
Very cool, right? Alright. Finally, we have another
type of limiter, which is the brickwall limiter. This is something
that we already using actually on the master. So it's down here, as I showed you at the very
beginning of the course. It's one of the most
fun thing that you should always apply
on your masters, should keep all your signal
safe under zero, right? Which is the clip point. We should keep all the
signals safe under zero. Remember, as you can see now
there's a threshold of -0.2. Let's see. And we also placed the effect in the
post fader position. Very, very important.
As you can see here. We just right clicked
on the effect here. As you can see now, it's
already in the post fader. So it says, you put
it in the pre fader? No. So we don't press this. It's already post fader. Like this behind below
this dotted line. And, yeah, so these are settings that we
can use, usually. Link fundamentally allows us to preserve more stereopon
if you disable it. But it will kind of
make it less safe. So for this specific limiter, it makes sense to
keep link enabled. So it's kind of a
safer compression, you know, safe limiting. Same for this thing here. So this will kind
of make it slightly more safe if you keep these
two things enabled, toquin. And finally, let me
show you one more, which is called the maximizer. So this is crazy because
it allows us to blast. It's very similar to
the squasher in a way, you know, but it's a single
knob effect, you know? And we have two modes,
classic and modern. So modern is kind of
more digital, classic, a little more analog, maybe with a little more emphasis
on the low frequencies. So let's start to
blast the optimize. Is fundamentally the amount
of hypercompression. You know, it's kind
of a quick limere and we have this nice
parallel co processing here. And we have this button
here, soft clipping, which does, as I said, you know, a soft clipping of a signal, it's not too aggressive. Tweak the reactivitiness
from here. This is going to tweak the release behavior referter
from math, you know? Alright. And this will quickly blast the volume
of something, you know? Wo Alright. That's
it. That's it. So half on with
you things, right?
32. Midi Inserts: Alright, so mini
inserts allow you to make your performances a little
more interesting, right? And you can do that
after you record those performances or
even while you record. Alright, I'm going to
show you both ways, and we're going to explore
the more interesting ones. So if you have two Base Pro, you may have these
special inserts here. So if you don't see
this action here, try by right clicking here. And go to the set up suctions, cross fingers, and you may have this jack box
here, media answers. So just enable it and you
will have these answers here. Alright. And Okay, I'm going to show you the
most interesting ones. So the first one
is called Arpache. So let me just show you. Right now, we have
a simple piano. Alright, nothing
crazy here, okay? So we're going to
enable the first one. RPA is fundamentally
a step sequencer. It's fundamentally a
rpajaor which in practice, allows us to press one single
node or multiple nodes, hold those like this, you know, and it's gonna do automatic
rpajos, you know, like this. See what's happening? Right now, I'm basically holding a
C major required. Right? And, yeah. So if I can. Let's open the interface
of those. Alright. Or nodes. And if you
know the PGiors, you can recognize all
these buttons here. These are the classic
play modes of PGiors. So we can go only
up, for example. We can enable a range of nodes. So it's gonna go crazy octaves. It's gonna co for
the entire keyboard. See what It's amazing, right? We can increase the speed.
You see what's happening? Alright. Just hold the notes. It's gonna do everything
for you, you know? Squazy, right? Ooh, you know, it can be very
expressive, very easily. You can make random notes
like this, random order. Squazy, right? Ooh. Alright. Oof. Ooh. Ooh. Okay, let's play some drums
with this. Alright. You know, we're
probably wondering how this works when you record. Well, you have two modes. But you see this did line here. So if you play if you play Defter if you play the
effects after this line, fundamentally, it's going
to be in play mode, which means that you
record is going to record your original notes in the media performance
and apply these after the performance as if it was the actual
insert with the audio. You know, let me show
you what I mean. So if we play, let's
record something simple. A Alright. Okay, so as you can see, I was holding slow chord and, in fact, recorded
those slow chords. So if you want to preserve
your original performance, just use the play
mode by putting the effects after this
dotted line, okay? And it will kind of play apply the effect after
the performance. So it will play it will just
apply it to this, you know? And will work. This advantage is that it may sound every time
slightly different, alright? Okay. The second mode is
that this replace the line after the effect. So here, and now it's
gonna be in record mode. It means that if we play
the same performance again, so let me just
record this again. See what is happening?
Now you actually recorded the final note after the effect into the
performance. You know? The adventure of this
approach is that instead, you preserve the actual result
after the media insert, so it's gonna sound every
time exactly as you wanted. Alright? And then you can
tweak these things later. Obviously, you can quantize
these as we saw already. You can just put
these like this with a control drag and
then press like this. Ooh. Ooh. One, two, three, four, five, six, seven, A. Alright. That's it. That's it. So
that's the first effect. You know, and, yeah,
let's go to the next one. So the next interesting one is a quarter. So let's try this. So this is cool, even if you don't
know music theory, because you should discover
interesting tonalities, especially if you use a
instrument with many notes, like the piano, the
harp, the guitar, right? So let's see what is
happening with this. Fundamentally, this should
press a single note, and it's gonna
play entire chords or even very complex chords. So let me just choose
one of the presets here. Let's do with, for example, jazz and see measure turns. Just click this. Okay, let's
see what is happening. I'm gonna pay a single
note and nothing happens. Probably because we're
pressing the wrong notes. So in case you just change
octave on your keyboard, and eventually you're
gonna trigger. So nice chords, alright? See what is happening?
We are immediately in a jazz club at
night at 2:00 A.M. Alright? Yeah, yeah. That's it. Then just
have fun with this. You know, just discover
your saying chords and then record these obviously. Woof. Right now I'm pressing
a single note, okay? Hoof. Alright, and then just record. So Alright, boom. Yeah, that's it. In this case, it's
gonna record the entire you can see recorded the
results of the effect. Because obviously, then we're in record mode. And,
yeah, that's it. Then you can have fun. Ooh. Ooh. Yeah, let's see, let's
check the next one. Let's see, for example,
we have compressor. This is a more technical thing. So, as you know, the amplitude of every single medi
node goes 0-127. So we have a total of 128 expression amplitude
nodes, right? So, this compressor allows
you to fundamentally limit to kind of it's kind
of a brick wall limiter, in a way, so we can blast the ratio like
this, for example. And we can say, You know what? As you can see the
threshold goes between those two numbers I just told you. And we can
say, You know what? Our performance is maybe hard. So we can compress it. We can limit the max amplitude
of our performance to maybe around 75
around here. Alright. And yeah, so in that way, even if we play very hard note, they're still gonna be
limited by this guy. Let's use it in play
mode for a second here. Alright? So now I'm gonna
play very hard notes, but they're going
to be very limited to this number here,
pomatic Lelse. E. Right now I'm trying
to play very hard, but it's still limiting
the intensity of the nodes because they are passing through
the compressor. You know, that's the point.
The medi compressor, remember, this is
just medi, alright? That's right. Alright. And if I disable
the compressor 93, you should play the
original dynamics. As you can see, I
was actually playing very hard, as you
can see, right? So it was kind of reducing
the perceived intensity by compressing the velocity of the nodes at this level,
which is pretty cool, right? We see what is happening
without the compressor. See how hard I was playing. Will the compressor,
it becomes quieter and we can tweak
it later, right? To limit to make it become softer for
the matter, you know, we can apply also
a objective offset to make it even quieter
if you want, like this. Becomes crazy quiet that
way, right? Very soft. Woof, right? So if you want to force
your instrument to be sounding softer on
average automatically, this is a cool way
to achieve those. And obviously, if we
and you can use this, again, in play mode, and
record mode, what we want? Alright? And, so that's effect. Let's go to the next one. A little cool one
is the mini echo, which is fundamentally a delay. So let's just way
past the pigator, right? And so let's
see what it does. Okay, so fundamentally make
these echoes and you can shift the offset the velocity and the pitch for
each echo copy. In this case, let's keep
now no pitch offset. So it's gonna become
a full fledged delay. See what's happening? And so you can set this up to play, hi. You can see very cool
effects for this. You know, and you can tweak
this to your liking, 18. You can tweak the lang every
single coffee as you want. So many things, you know, we
can make irregular decays. Alright. So it's gonna make your performance
a little richer, just a couple of clicks, right? And so, yeah, so
that's one more thing. And what else? Then there are more
technical things. Many of these things
are very technical. Kind of, for example, we
can port the range of your allowed note to a
specific range of notes. So it's gonna completely exclude the ones
outside of the range. So you can program
this to your liking. But I'm gonna show you
the most practical ones, you know, for
performances, you know? And what else? The
final one is quantizer. This is pretty
interesting for if you record a standard performance on the piano for now, let's, for example, let's just Alright. Hey, let's quantize. So we p here, and we cue. Okay, we go shoot 18, this and quantize, Q, Q, right. Okay, let's make the
piano a little quieter. Okay, let's just raise the volume of the
drums a little bit. Hey. So as you can see, the drums right now
are very quantized, are pretty regular, right? So if you go to the
insert of the drums, for example, and you go
to the quantizer, Okay? And you keep it in
play mode here, then we have these nice control. You can recognize some
of these things, right? One of those one of the most
powerful ones is the swing. So here, you can shift
slightly every single note, a little ahead, a
little before, right? So it's gonna create this amazing half time
effect, let's see. And then need to tweak the
matrix. Let's go one A. Alright? Hey, let's see what's happening.
Create more groove. Oof. Oof. And, yeah, that's one way to use this. You can create more groove
in your performances automatically using a swing, a slider, and just a fundamental
quantization rule here. Can make crazy things. For example, as you can see, you can be if you choose crazy, just reduce the
swing, obviously. If you don't have
any music knowledge, music theory knowledge,
just go safe by playing 18 or 116. You know, that's it.
This, you know, all the ones. And that's it, you know? And this thing here,
strength is gonna instead quantize the
nose in real time. So it's gonna actually quantize the initial timing of the nose. So if they are already
quantized here, you don't need to increase this too much. That's
the truth here. And then this I choose delay
study all the nodes at once, kind of a general
offset, you know? And you. That's it. That's it. This is one of
my favorite ones, for sure. And so, have fun
with these things.
33. Automation, Panner, Macro Knob: Alright, so if you arrive to
this point of the course, you already did all
the more basic stuff, and now we can start you
ramp up level, alright? So first of all, let's start to explore the concept
of automation, which allows us to animate dynamically parameters of
any effect that we want. Alright? So first of all, let's listen to this new song. All right, right. Okay. So let's see what we
can do with this. First of all, we
have this voice. Let me just analyze
the three tracks here for the instrumental first, and then I'm going to show you
what it is with the voice. And so let's see
here what we have. We have simply a harp
with some effects. As you can see, we have a
chopper flanger, maximizer. Then there's a delay. And some amplification,
then a slide reverb. And then the reverb gets gated. By the drums, right?
Were you know, the side chain at this point. Alright, we can skip this part. Then there is a
compressor that is, again, receiving
signal from the drums. So we have the gating plus the pumping from the drums
at the same time, alright? And this makes the carp
very rim rhythmic, you know, and not too invasive. Okay. Now we have the bass guitar, which fundamentally
is electric guitar, but right now it's
being pitched down by the pitch driver with 50% mix. Alright? Then we have some squasher to increase
the allowance of this. Then what else? We have a limiter to keep
it under control, and then we have a
compressor side chain mode. So it's being pumped
by the drums again. See. And then finally, we have some uti band compression to kind of make space for the boys automatically,
you know? So, only when the boy sings, it's gonna cut off
these frequencies from the bass. You
know what I'm saying? See what's happening?
Already know all this stuff. So we can check the
previous chapters in case you don't
remember these steps. Don't worry. And, right, so that's base and then
let's see the drums. Drums are fundamentally
different kit is using group agent as always,
but it is a different kit. And let me show you I just made these
drums a little more roomy, you know, with a couple
of reverbs here, a short one. You can see. And another one here, there's some PT crushing going
on and find out the ser to keep the consonants
under control, alright? This is fundamentally is
doing the instrumental. Very simple. Three
tracks. Alright. This is all you need
to make a track. You know, you can really
make an entire track. This is the
fundamental principle, you know, the perfect triad. You have a melody,
a bass, and drums. That's it, you know? And
finally, if you can, just use a vocal layer to really complete the
spectrum. Alright. And let's see now
with the voice. The voice has just a picture. Obviously, you make it on
time to keep it in tune. Then we have some squasher
to increase the loudness. We have some short river. So let's see. Let's keep the. Let me show you. Let's go. Let's bypass everything. Okay? So this is really the raw
recording out of the mic, okay? No. So this is a ma, right? So we should make it in tune with some
picture correct, right? Were the node. Then we
increase the loudness? Mm I met we put this into a
interesting environment inside the car, for example. Mm hmm. This song is not important to make the voice completely in your
face super dry. So I kind of want you to keep
it 90% into a car, alright? Then we kind of centralize it. You know, This
reverb was kind of putting the is
around the channel. So I wanted you to keep
it back at the center. So I just squashed the stereophony with a
stereo hinter and 20%, and that returns
be fundamentalmno. Then I just downsample it on purpose to create some
interesting artifacts. You know, kind of
lowify it a little bit. Then we dS it to
keep the continent under control.
Nothing crazy here. And then we start I had
to put the juicy stuff. Here's some delays,
right? One fourth. The first one, 40%,
second one, 20%, and one eighth dotted. And slightly higher. You know, as you can see the
second one is spatial, 75%, whereas the first one
was 100% white, okay? Remember to differentiate your delays as much as possible. And then we have some
reverb, proper reverb here. That right now is pretty
low 9%, but if I want, I can increase this. Wow. See what's happening?
Can make it very theory if I
want. Very emotional. Let's keep it 9% for now. And finally, we have
some stuff for later. So let me know reveal
for now what this is. Let's instead, enable
a pumping compressor. This has been This
connected to the drums, so let's enable the drums. Wow. You see what's happening? So it kind of makes the voices more pumping automatically. H? Yeah, then we have
some female voice. We just told a duplicate
of the mainta, but I transposed it
seven semitones up, which makes these interesting musical intervals, you know? It's called a fifth, okay? Hans, let me make pigs and solo. You know, kind of sounds
weird if you put it in solo. But when we put it together with voice, std makes sense, right? Just a lower volume,
and that's it. Also. We panned it
slyly on the lot, so it's not stealing too much from the main
voice at the Centro. Alright. Yeah. And these are how these
sounds are designed so far. So now let's see how we
can deal with automation. So one thing that we could do to the song
is, for example, automate the amount of
reverb on the voice, right? So let's see, let me show you. The first thing that
I recommend doing when evaluating which prompter to automate is to simply
play live with a prompter. So for example, let's
go to the reverb here. He, we're gonna play with this guy here, you
know, with a mix. So we play the
entire song. Okay. And let's see. We're
gonna play with this. You know, to evaluate. You know, so kind of feel it with a song in
real time, right? And only if you realize that that prompter can
deliver more motion. If you automate,
let's touch you h on. So there are different ways to make this prompter
appear in the timeline. My third way is you simply
right click on the prompter and Show mix automation
track. That's it. So show is the keyword. So, boom, and we can escape,
and now we have here. Alright. So to automate
it, we simply go, Where when you start to
automate this guy and just press Alt and
then click. Boom. Alright. And here we have some lines. Sure, we're going to
delete all these points. We have only one
point for now. Oh. Alright. And make sure that you enable the right mode
here for the snapping. So in this case,
let's go with grid. And let's go and use
quantize and one eighth. Alright, so this depends on
how much precision you need. This case, one eighth
should be enough. And yeah, so let's start to
choose the initial value. Let's go with 9%. It's gonna be the base
amount of reverb, and then I'm going to
raise up when I want. So, for example, let's go. I'm gonna play the
song real time? Alright, for example,
at the end of this bar, I want you to raise
it around 85. And then I want you to
go back to zero kind of 9% to the base level,
fundamentally, you know? So you're not forced to
use these straight curves. You can actually curve
every single pair of keyframes like
this, you know? So you can make a
exponential raise or a logarithmic raise
like this, you know? So let's make it kind
of exponential and then here as well, like this. Alright, let's see.
Se what is happening? Let's disable the delays
just for now, you know? Alright. See what's happening.
You know, I can control dynamically the amount of
reverb, which is crazy, right? Then if you want, you can simply duplicate the pattern of automation by
simply using shift. So you select the point
where you want to start to copy the automation
from for example here, and then we press Shift left. And we select all the
points one by one. And then we can still be
duplicate it. So control D. Like this, or we can
copy all of that. So make sure that you
select this again. So you copy and then you go to the new bar where you want to repeat the cycle
of automation. So in this case, we make sure that it's
symmetrical, so let's see. So you copy actually here, one, two, three, four. So here. Let's make some more
automation here. Okay. Okay, let's make some
blind here. All right. Okay, so for
example, now we have a perfect four bar automation. So we copy all this and we
duplicate it. Control D, boom. Alright? Or, again, you
can copy like this. Control C and Control here. Boom. Alright,
make sure that you are exactly in that spot. So now go off time, and, yeah, that's it. That's perfect. Then you can tweak each curve. Or you can check you can tweak every single point independently by clicking it like this. And then you raise it
from this value here. So just raise it with a wheel. Or you can select
multiple points, for example, like this, and then it's going to
give you access to a mass, a bulk edit tool. For example, you can
lower like this, you see what's happening scale, vertically scale,
horizontally like this. You can clamp all the dynamics of this automation, like this. You can do so many things.
You can decrease it like a giant fade in up
all the values like this. You can edit these
with complete freedom. You see what's happening,
we can also stretch, squash these things
like an accordion. So many things all integrated into this macro
selection, right? And, yeah, at any point, we can delete this
if we don't need it. You know, like this. Nothing will break.
That's it, you know? We can also add new points
at any moment just by simply clicking on
any new spot here, and we add a new
automation like this. That's it. That's it. Completely super fast. All right. So you should enable,
again, the delay. And then the cool thing
is that you can copy and paste all this
automation somewhere else. So we can copy these values, right, which right
now go 0-100%, which means that they
will perfectly match any other effect that has
that same range parameter. So for example, the
delays also go 0-100. So why not automating these? So we right click on the
delay one and also delay two. Here, right click Show, Alright. So and then we simply go to
the beginning of the song. And the data is already copied. We simply inte paste on
the first delay Mix. Boom. Ha. You see what's happening.
And then maybe this value, these values here here
are a little high. So you can simply
offset everything us. So it says max 50%,
you know, above that. And then we delete these initial points
that we don't need. And then we simply
copy and paste. This automation
should you the one. Maybe we make a slight
difference, maybe lower lats. Yeah, that should
work. Let's see. That's it. Ooh. Alright. Okay? But why why stopping here? Let's start to
automate more things. For example, we can automate
a nice git, but right now, Asa should make it
side chained drums. So it makes the
voice. Alosa should make the reverb rhythmic, right? With the show I showed
you. In the past. Alright? Let's see
what's happening? Right now, it's not
working. Can you guess why? Watch carefully the
prometers Exactly. It's because the
range is on zero. So even this is being
triggered by the drums, it's not closing the
volume at all, right? So we sim lower this. And the rep, what
become rhythmic. Woof. You see what's
happening? Woof. Let's increase the volume
of the voice a little bit. Oof. Let's streak the threshold.
So what's happening. It's crazy, right? As you can guess, this is a potential thing
that we can automate, which is fundamentally
the mixed control of the gate rhythmic. So we don't want this to happen all the time. So
let's automate this. All right. Is here. So I'm gonna put it on this
case is a reverse value, so when it on top,
it's 0% fundamentally. Alright. Gonna open it actually exactly at
the end, like this. Exactly. Whereas at the beginning, we want this to become
very rhythmic, so we keep it very low. Who. So it stop I make a very short accent just on the very last beat over the
bar, for example, like this. And then it returns
instantly Super rhythmic. So is happening? Mm hmm. You know, just to kind of
make the voice more rhythmic and even more creative. You can change the color of any of these at any point like this into what we want
completely free and fast. Mm hmm. Yes, yeah. As you can
see the automation is super powerful and important. I would almost say
essential to make your songs to bring your songs
to the next level, right? Because we don't have anymore. It's simply fixed values, okay? If you like to draw the
lines point by point, you can also use
predefined shapes by going here to the tool bar. So let's see if we can see it. She right click up here in case you don't
have tool buttons. Alright. And one of the
buttons is this guy here. So this allows us to
make predefined shapes. So we can make a ramp like this, or if you click it, we can choose different shapes. For example, a sign, so we can make a rhythmic, you know, rhythmic pattern that will take forever
to make manually, right? So you can achieve
very rhythmic effects. Here's what it is. First example, let's start
you automate the pan, which allows that you shift the signal from left
to right, right? So let's go to the let's
just add a new value here. So we can kind of
show that we go here, click and we should be able to see the standard
pann here is, right? Standard panter left,
right, okay, here. And this allows you to
now shift the voice, left and right, okay? With this. You know, normally,
you can do it from here. You see what's happening?
Okay. And we're gonna apply, for example, a rhythmical,
left and right thing. For sample here. Woof I
see what's happening? Poof. See what's happening? See how it's jumping
left and right. Let me make it a little slower. So let's turn this off. Okay, we decrease the speed. Wow. So what is happening
so you can make very interesting things that normally would take forever
to make those by hand. Even though I'm a
big fan of doing things by hand, you know,
but it's their choice. You know, so instead of
using a auto panner, you can make a exact left right
automation that you want. Okay? That's the advantage. Okay. Maybe maybe we can delete
this first one here. Simply shift shift right
like this in delete space. Okay? And creating automation this
way is not the only way. You can actually create it
live by simply enabling the right mode from
those big button here. So this is going to
fundamentally create enable the write mode on all the prompters in
the entire project. Or for safety, you can
enable that only on the specific effect
that you want to enable writing mode on. So for example, let's delete all the automation that
we did on the reverb. So we're going to
right click here, select all vans and
then backspace. So that's going to clead
all the automation there. Okay? And now it's fundamentally returned
to be a fixed value. Let me show you here. So
it's not jumping anymore. So one thing that
we could do is to enable the W here
on the effect here. And now, we play the song from the beginning
and I'm gonna move this in the exact way I wanted to move dynamically
during the song, right? Let's see. No, no. H All right. Alright. Alright. That's it. Ooh, and then just release it. So what's happening?
It's alive. Hm. And, in fact, how you
see what's happening? All the automation I did manually now has been
recorded, right? Imagine you do this by hand. It would take forever, right?
So you can simply preserve your humanization by actually recording your actual
desired moments in a value. Alright? And when you do this? Remember to disable
the recording mode, so you repress W, and we're all safe, right? Otherwise, it's gonna keep recording in case you touch
something else, alright? That's it. Alright. And then you can further
tweak this in case, you know, you can kind of select this in case there
were Sally of time. For example, just select
this and then control, hold control, and then you can put it back in time in
case, you know, like this. That's it. Alright. You know, it doesn't sound too
bad already. That's it. If you remember earlier, the way I showed the prompter on the timeline was
to right click on the prompter here
and press show. But the truth is that there is another way that
is very handy, which is to actually
make sure that you enable up here, the
automation controls. So in case you don't
see this thing here, you right click and make sure that you enable automation
mode, first of all, right? Okay. So then you click on this E. And then go to settings. And finally, simply enable
reveal prompter on. Okay, so when you enable this, it will make an amazing thing, which is that sometimes
it may not give you the option of showing a
prompter this easily, you know? So when you have that issue, you can simply enable writing. So suppose I want you
automate, for example, the room size, maybe the
main time here, right? So I simply enable, right? Play and simply move this value slightly
or simply click it. Boom. That's it. You
see what happens here? So as soon as I play, I clicked this new value. While the writing
mode was enabled, it immediately made
it pop up down here. Ready to be controlled further. You know, at that point,
simply remember to uncheck the writing,
and that's it. Now we have this
new prompter here, and we can control it
further, you know? That's it. Alright. When you are done automating all the
parameters on a truck, you can hide all
these useless data by simply right clicking on the
truck and hide automation. As you can see, there
are many options to hide or show specific
automations, right? So we can hide all the automation in
this case, and that's it. We keep it clean. And then
we can go somewhere else. You know, we can show the automation on
something else, right? Or in case you want to simply show the current
automation in the project, simply right click on any
track and go like this. Show all used
automation, like this. Alright? In this case, there is only automation
in the track. That's why we see
this only here. Other times, if you return here to the automation mode button, there is another cool
thing that sometimes you may need if you go to Settings, which is show data on tracks. So here, as you can see, it allows us to see the waveform on every single
microlane of automation. So this may be
useful when you have so many automation
tracks and you want to stay in sync with the
actual waveform inputs, right? So in this case, I don't need it, so
I keep it disabled. Like. And then, let's go to
the mix of the reburb, right? So right now it's
completely busy with automation, which
means that right now, the only way to return to a kind of free hand mode will be to mute the automation using this button
here, mute automation. So right now, fundamentally is ignoring the
automation completely, and I can indeed experiment again as if
it was a fixed value. See what is happening? And
when I'm done experimenting, I simply unmute the automation, and it will instantly return to read my automation, right? Okay. Now let me show you
something interesting. Let's suppose that I cut off the 2 bars here at
the end of the cycle, here, these 2 bars, right? And let's suppose
that I want you to duplicate this on
every single bar, so I can drag like this, or I can duplicate with Control
Z, obviously. Let's see. Okay, so far, no nothing crazy. You already know this What? Let's suppose I
want you to carry the exact automation that
that chop was carrying on. So to do that, simply go back here on the
automation modes and enable this nice jack box
automation fol loose events. So when you click this, and you chop something and you move that
chop somewhere else. I will actually carry the
actual automation that it had. You know, let me show you.
Just watch carefully. See what's happening
poo. You know? So we can duplicate
this, for example, watch carefully this block of automation here.
Let me show you. So if we chop this from here, to here, let me make this
back bar mode for a second. Okay. Alright, just watch carefully this automation from here to here. Boom, boom, boom. You see what's happening Poof. So we can actually apply exactly it's actual automation
that we wanted. Let's see. Woof. Alright, and that's it. Alright, alright. This is very useful
when you want to duplicate entire sections of a song to create quickly a variation of something
very complex, okay? So remember this feature here. Okay, cool. Now let's
do a step back. As you can see, right
now, I had to animate all these values with
separate automation lines. So this is ideal
when you have a mind exactly unique animations for every single prompter, right? But sometimes all you
need is to simply have a single control that maybe controls all these things
at once, you know? So it would be cool
to kind of increase simultaneously the
the mix of the ever while having
also the mix of the delay and the other delay
at the same time, right? So why not showing
a way to do that? Well, to do that, we should first erase these automations. So let's bring them all of
them to square one, right? So we simply select
all these lanes and then right click
on any of them. Select all the nds, and
then delete backspace. Alright? So right now they're
return to be manual, okay? So then we need to
use controllers. So before we do
that, let's bring these values to the initial
value that we want. For example, the
re Rb can be 9%. The first delay can
be around 40 and then the second
one, 20%. Alright. Okay. So to do this mass change of multiple prompters
with one single knob, we need to use an amazing
feature called modulators. So we go here at the
very top, right. And then just a simple
click this button here. Show lower mode. Okay. And then click on modulators. Here. Okay. So after that you please select the
track that we're walking on, in this case, voice main here. And as you can see, we have these nine things
available, right? So we need use, in this case, macro knob. That's how this thing
is called, right? So we select Macro knob. And now, as you can see, we have a single knob
that is going to be able to kind of drift or offset multiple
prompters simultaneously from one single place, right? So let's actually make this
knob visible on the timeline. So right click Show. Alright, so it's
going to be here, ready to go later. So let's select back
the track for now. And we're going to
now rig this knob so all the prompters are going
to be subject to this, okay? So through that, we
simply select plus here. And as you can see, we
can manually select in the the destinations, but
this is pretty boring. Instead, the best way
is the learn method. So you simply click. Learn. And then you
arrange you open the target effect and then
click the target parameter. In this case, the
mix of the re rb. Boom, click. All
right, that's it. And let's also put up two 9%. All right, that's it. And yeah, that's it. That made
the connection. So now let's do
the same thing for the two mixes of the delays. So we go here, first, it's done. Then I see how quick
it is this way. Learn, second delay. Mix, click, boom. Done. Alright? So now this knob is connected to all these
three things at the same time. Let me show you. Woof.
You see what's happening? So, let's actual you give
this the right initial value. So reverb is going
to be like this, this is gonna be like this, and this is going
to be like this. Okay. And then you
can tweak how hard the knob is going to
offset each value from these three mini sliders
here, here, and here. So, for example,
won't you be able let's kind of put
the knob on 100%. And a SCNT here is going to show how much is going to
offset the value. So let's see that a CCN T is not offsetting
enough the reverb. So we won't you be able to go to around 100% when this is 100%. So let's increase the
amount from here. Okay. All my ans the delays instead
can be influenced less, you know, because they're
already very invasive. So let's keep it around
here and also around here. Okay, so fundamentally the knob is gonna be less influential for the amount compared
to the reverb amount. Okay? So let's now bring
back the knob cheer zero. Alright. And yeah, now
should be ready to go. So let me show you
now we can test it. Mom. See what's happening? You can also go to
negative offset in case, but in this case, we
should go positive. Alright. And yeah, so let's make sure that it's
visible in the timeline. And we're gonna automate it. At this point, we can close
this weird window here, lower mode can go. And
we're back on business. Wear here? Alright,
let's enable the tracks. Let's enable the wave
form on the tracks. Alright? Let's do it. So now we're gonna control all these three things at once. We don't need to have these three separate lanes
anymore, right? We can close these like this. Simply shift delete. And yeah, we're gonna control
it from here. Skip it very low. Ooh. Right? That's it. That's it. You know, so that
way, fundamentally, you can use way fewer
automation lanes make everything more
efficient, right? That's the point. And finally, one of the
most useful things that you can do with
automation controls is to suppose they want you maybe
bring everything to square one for the entire project
or for just one track. You can do it simply instead of manually trying to delete
all these things manually, which is very risky,
you may, you know, accidentally delete things that you don't want to be deleted. Instead, you can simply go here on the
automation controls, then open the menu here. And then click this nice arrow, and you have a couple mass bulking delete options, alright? For example, you can delete the automation for
the entire project. So let me show you.
One, two, three, boom. You see what happened? All the automation is
done automatically. Or you can delete it only for a specific area
of the project. So maybe we want you to delete only in this specific
loop, right? So, in that case, we
prepare the loop want you clean automation
and go here, delete automation in range. And then boom, it's gonna clean only for that
one, you know? And, yeah, so that's a very important thing
because sometimes you want you clean things, maybe you're creating
some kind of template. There are so many use
cases for this, right. And, yeah, that's the power
of automation. Have fun.
34. Groups vs Sends: Alright, so you fully understand what group tracks and sense are, we need you first understand
the theory behind it, okay? So normally, we know that there is eventually
in every project, a master, right, where all
the tracks go, choose. So normally the
tracks go straight to the master and we
are all happy, alright. But sometimes that's not enough. We need to kind of maybe
process multiple tracks in a specific way before they
go to the master, you know? So to do that, we
create a group track. So it's gonna be a extra track fundamentally in the timeline, you know, we can call
this number four. Instead of going
straight to the master, number two and three,
for example, go first. Should the group like this? And they get summed up together, so we can apply a series
of effects, you know? And that fundamentally
is a way to process the signal of number
two and three all at the same time, you
know, simultaneously. And only then, finally,
when we're done, we diverge the signal of number four straight
to the final master. You know, boom, like
those. So that's the principle behind
group tracks, okay? Instead, send tracks
are a parallel signal, so we still have extra track on the timeline, so number four. But instead of
diverging complete the signal of the
tracks, you know, like this to that one, we actually preserve
the original path of those tracks
going to the master. And we create copy of the signal of these two
tracks going to number four. So they actually
looks more like this. You know, we make a copy
like this, you know, boom. Boom. And then number
four finally has also its processes like this and eventually
goes to the master. So to recap the difference, when we use group tracks, it will not interact completely the original
path to the master. And we're going to simply
go to the group track, and then the group track goes
to the master, like this. Whereas Sands are a
parallel signal path. It means that the original path, the tracks still go to the master straight,
but at the same time, they also go to the Sand track
for a parallel processing, you know, so it means
that in the second case, when you do a Sand track, you may experience
volume increase because you have initially a
copy of the actual signals, you know, kind of
time too, you know, so you need to be
careful with the volume in the case of Sands, you know? And, yeah, so that's the
fundamental difference. So go back, double check that you understood
this principle, and now we go to the practice. For example, let's
suppose we want you to make a sand for the base. So to do that, you select the channel that you want
you to apply send to, and you go to the mixer
and right click on the path on the channel that we're talking about, in
this case, the base. And then we go to add effect
track, he selected tracks. When you do this, it will create a new fader, first of all. But before doing that,
you will ask us, Okay, which effect do you want to use on that new track
that I'm going to create? In this case, we're
going to go heavy metal. So let's apply a simulator here. And then there's gonna be a stereo track,
that makes sense. And let's make sure
that this sent goes straight to
the master instead. So change the output to master and make sure that
it goes outside the folder, and let's rename it heavy metal. Alright. Okay. So as you can see, we have, first of all, a new fader here, and we have already the settings ready you should go on the
effect that we applied. So this new track has
its own insert chain. And yeah, so first
of all, let's apply a preset here for metal, for example, like
this, double click. Alright. We'll see
what is happening. So the first thing that
you will notice is that the base volume is
gonna be way higher. Alright. So let's make it lower. Alright, see what's
happening? Wow. Put in solo. Let's just see
what is happening. So far, the base has a
direct output to the group, right, as regular here to the submaster, which
makes sense, right? But now at the same time,
it's also getting out of the heavy metal channel
sank to the sand. So the sands are here. Alright? And we can choose a specific
volume for the sand. So it's kind of
this kind of a pre gain attenuation
that you can apply in case to make it be not
too loud in case, you know? And, yeah. So then we can regulate this channel
independently. So it's a parallel signal
path, as you can see. It's not sequential like
the group tracks, you know? And now we can tweak
it, so Alright. Let's weak a couple of things. Let's reduce the frequencies, for example, here. Okay? Alright, let's keep
it down way. Alright. And then we can process this
as if it was a normal track. What the good thing
is that we can use pre fader or post
fader on the sand. So to fully understand the difference between
pre fader and post, simply play around
with this button here. So if we decrease the volume
right now, complete zero. Let's see what happens.
You see what is happening? Now we don't hear anymore the signal go getting
out of the group truck, but only the one getting
out of the sand. And the reason is that because this sand is in a
pre fader precision, it means that this
channel diversion happens before the fader. So whereas the group happens
after, always after, right? And that's why the group
doesn't receive any signal, whereas the send does. You know, in case you want the send to be as
if it was a group, simply click this button, and now it will also
become muted because now the sand is also in
a post fader position. So we'll kind of not receive any signal because
it's closed, right? So let's give it free pre fader. Usually, pre fader grants you a more stable setting
for everything, o cream. And yeah, that's good. And then let's see
how we can combine, make this heavy matter
layer more creative. So for example,
let's add a reverb. Put this back in solo.
Alright. Let's see. Okay. So let's add some
nice reverb, first of all, eight. Alright, 90%. Hey. Alright. When you use
a reverb on the sand, usually it's a good
thing to keep it always around 100%, because that way, you have a dedicated
channel already with completely 100% signal. You know, you don't
make the dry signal pass through the sand because it kind of
doesn't make sense, you know, it kind
of makes sense to keep the original signal
without reverb, usually. And then the sands have
the reverb, you know? So, so this rule is
not written anywhere. You know, you can break the
rules when you want, okay? So, right, so let's kee it 90% for now, let's see
what is happening. Okay. I still maybe a
little too invasive. So let's also gate it
on time with the drums. So let's steal the settings that we have already
on the voice. So we drag the gate
on the voice, here. Also on the heavy
metal channel here. And let's make sure that the side chain
is routed correctly, so it receives the
signal from the drums. Boom. And let's make this
pre fader, yeah, that's it. Now, it should be rhythmic. Let's make sure that
the drums are playing. Okay, let's repeat the
threshold and range. Alright, see what's
happening? Mm. Oof. So we have now
a full heavy metal, clear with also rhythmic. See what's happening? Alright, so at this point, let's go back to the main. Go back to the main arrangement. We're gonna regulate the
volume of this sand here. You see what it is? Heavy
metal automate the volume. Mm hmm. Alright, for example,
here, give you a good spot. So let's do this. Gonna raise the
volume of the heavy metal only in the heaviest part. Mm hmm. Woof. So happening? Alright. Any chills. Woof. Alright, right. And
that we go to the beginning. Let's reproduce. First cycle. Copy and paste. Oh, that's it. You know? That's how to use sand in combination with the
group channels, as well. Oh. And yeah, have fun.
35. VariAudio! (Precise Pitch Correction): Alright, so let me
explain what are audio is is a method to very precisely retune
a voice that can be slightly out of tune or
heavily out of tune, right? Even more precisely than the real time re pitcher,
pitch correct, right? So let me just disable all the effects by
pressing this button here, so you bypass all things at
once, and we can listen. First of all, the raw
recording of the voice. No, no, no Okay, as you can see, it's not
that bad, even just raw. But let's see if we can
do something to make it kind of completely
in tune, right? So to do that, we double click
on the voice performance. And then make sure that
you click audio here. Disclaimer, you don't have this feature if you
are using Qs elements. Instead, if you have any
other version of nuendo, you do have this
feature, alright? So let's go here to the very audio tab and just analyze the
voice, first of all. Boom. And poo, you
see what's happening? It's gonna showing us
exactly every single note that we sang, okay? As you can see, every
note now is shown inside some kind of as
if it was a piano roll, as if it was a medi instrument, which is pretty cool, right? So if you know already
the notes of your song, you can recognize immediately which notes are out of tune. For example, in this song, which is in D major or B minor, we know that we don't
have this not here. We don't have a D sharp. So we can simply grab that
note that is out of scale and just snap it to the closest
note that is in tune instead. You know, maybe
this can be here. No, no, no, no, you know? And SCNT gives us a
acoustic feedback when we move the
notes like this, as if it was an
immediate instrument, again, you know, to
enable this feature, make sure that you
enable this button here, acoustic feedback, okay? So now when I grab a note or if I want you to listen
it I can simply click. You know? Like this. Or I can navigate using the left and right, arrows
on the keyboard. No. See what is
happening? Yeah, that can move this simply
by using up and down. You know? No, no, no. As if it was a music
instrument, again. It's pretty handy. And
yeah, so let's see. No ha, no. See that now, that note
is actually in the scale. Otherwise, it was kind of out
of tune. Let me show you. Nah. You know, right? So that was not in the scale. Instead, we snap it to the D. Noah, no. Alright. Or we can also do E. Let's see. No, no. But, you know, it sounds kind
of a little more natural. So probably this was meant to be a D. So let's keep it there. Yeah. Yeah, yep. Okay, second way you can process the nodes is
also to straighten those. So let me show you, we select,
for example, everything. And we go to this nice
slider here, correct pitch. So this will slowly move each node to the closest
note of the scale. You know, we will kind
of try to guess it, kind of quantize the
position of each node. Usually, I like to use 50, 50%, you know, not too
much lactose. Alright? No, no, no, no. And the cool thing about
this correction is that it's not aggressive
in the sense that it will preserve still
the micro vibratos of every single micro
node, as you can see here. It will simply change
the anchor point of each block, you know? And in case you actually want to straighten the
vibrato of each note, Well, simply use the
second slider here. So we can eliminate,
for example, the one of this note here by straightening this curve here. Boom. And now becomes
like those wrappers, you know, that have made
perfect robotic notes. You can do that, if you
want. Simply with this. Uh huh. See? Even though, you know, if there is This will eliminate the vibrato of the intonation, but they will still
preserve any oscillation that may be in the
amplitude of the node, you know, which is a good thing. I mean it may still
sound natural, even if you straighten
the node brutally. So even if you use a
very high straighten, it may still sound
pretty natural. No. Even though, obviously,
if you blasted to 100%, you know, it may accidentally
starts to sound robotic. So be careful. Yeah,
especially here. Uh huh. Let me show you without. Yeah, you know, so be
careful with that. I usually don't like it, so
I keep it maybe 5%, 10% max. And finally, we have this, you cannot make the voice sound more masculine or feminine. Let me show you if you increase it,
obviously, it's gonna. So you can tweak this
per note, right? So you can really be
creative if you want by going per note and
change it specifically. You know, maybe
just for this note, we can make it that
way, very masculine. And this, this instead can
be very feminine let's see. Uh, no, no, no. See. It's crazy, right?
So you can achieve very high control per note. Okay, so let's see what
we have so far, yeah. So, in case you have
zero musical knowledge, I understand that this can be
a little mess to understand which notes are allowed to be in the scale
and which are not. Well, in that case, simply,
you have two methods. You can simply go by feeling
in the sense that you may already feel that those
notes are out of tune, right? So in that case, you
need to move the notes. So there's not too much
scattering in the notes. You know, that's one
method, you know, or you can use the scale
assistant down here, right? So to make this work properly, you need to at
least know what is the root note of
your song, okay? So the root note,
usually it's something, it's a note that
gets touched very, very often in your song, right? So, in this case, we can
notice that one note that gets touched very often
is the D. Like this, here, D note, right? So this note here,
let me show you. No, no, no. Okay. Uh huh. So you can attempt to
quantize everything based on this note that
I'm touching very often. So to do that, you simply go to the node that
has that name, as you can see, it's
lily here, D, okay? So we go here, it
editor scale, D, and try to and then
you figure out if the scale is major or
minor to figure that out, simply say here and try
first with the major. So demasure and then simply
scroll down and quantize. Boom. Alright, so this will
quantize all the nodes automatically to the right
nodes of that scale, Dmajor. And then double check
if that's right. So if it's wrong,
you will kind of realize immediately
because there may be some nodes that are not in the scale I will kind
of sound out of tune. So Uh, no, no. Okay, let's just
increase the tuning. Let's increase the
loudness of this so we can hear it with something
else, right? Let's see. No no Uh huh. As you can see now,
sounds in tune. So I mean that D major was
a good choice is right. Otherwise, you can go back here. If you choos a wrong scale, you will kind of
realize immediately because you will see that I will kind of sing wrong notes. For example, if you choose
melodic minor or native minor, let me show you. And we quantize, Jazz scale? Alright, you see
what happened here. Uh huh, this note is not in
our scale in our song, right? So it's probably not
the right scale. So try another type
of minor here. Quantize, see? No, no, again, you know, it's the weird nodes that
are not in our scale. So, um, yeah. So,
so in that case, we need to go back to measure
and just quantize again. Okay. Non Alright, that works. And, okay, so if you
still are having issues, figuring out what the right
nodes are for your scale, another method is to try to overlay the nodes
that you already recorded in order
instrument tracks on top of this visualization. So that will kind of suggest you the allowed nodes in
the scale, right? So to do that, we can
simply go down here. Let's disable, let's reverse
the quantization, okay? And we go here, medi
reference, okay? So you simply select one of the instrument tracks in our project that already
have the right nodes, right? So for example,
let's try the harp. And poof. You see
what's happening? Now it's overlaying
these tiny notes that are fetched from
the hard performance. So we know that those nodes
are for sure allowed. Alright? Yeah, so that
way you can use that as a guide to figure
out the right notes. No, no. See here. So these notes here are not placed there, random. They are actually suggesting us the right nodes.
That's the point. And you can disable the overlay anytime with this
button here, okay? And, yeah, let's change
base, for example. The base usually
is a good thing. It's a good way to figure
out the root node, okay? N, n. Alright. See what is happening here? Nan. And yeah, so kind of
change the references. Obviously, we cannot
use the drums drums are simply drum pieces. They're not notes, but the
harp and in real songs, you may have at least one or
two medi instruments that are gonna suggest you already the right notes
that you can use, right? So, so that's another way to quantize this correctly, okay? And then let me
show a couple cool additional tricks that you
can do with the voice. For example, when
you select a note, let's suppose that
you need to kind of ret it slide because it
was kind of out of time. Well, simply select it
and stretch it like this. You know, that's
it. And that will kind of make it last
a little longer. We'll make it start a
little later, let's see. Right? So you can retime this very precisely if
needed, you know? So, so we can also chop that note by simply going
here, as you can see, just in the middle of the note, and it will automatically
highlight it with scissors. And for example, we
chop, like this. And then we can we can
retime this chop separately. If you want to
bypass the treatment done by the audio at any time, simply press this
button here like this. And it simply bypass this. Nah, no. As you can see it return to
be slightly out of tune. Nah, no. Uh huh. And then reenable anytime. Then, if you want to re initialize all the
changes that you did, simply scroll all
the way down here and choose function
and reanalyze. And it will kind of bring
back to square one, you know? Uh, no, no. And then you can do a new
treatment completely new, you know, so you
can straighten this again like this, you
know, if you want. And the true trick to
kind of pitch something without being too aggressive
is to use the correct pitch, so not too much
straightened curve and then ret the nose
also in real time, using the pitch correct
effect here as I showed you. So again, here, you
set it to custom mode, you choose the right
nose of the scale. So you figure that out, as I told you, with
the method I told you? And just choose the right gender and then simply
choose the amount of speed of correction
that's how aggressive the correction is
going to be versus the tolerance of intravention. You know, here, I was thinking to you right now,
it's pretty high. These settings are
so high because I was I was not using very
audio at all, right? So in this case, since
now we have also very audio before entering
into the pitch correct, we don't need to be this high. So maybe we can say maybe
around 65 or 70, let's see. Non no. Maybe you also increase
the tolerance to 20. Alright. No C together. No Alright. All right. That's not bad, right?
Set you rename OSX. Alright, so how fine with this.
36. Sampler!: Alright, so so to
show you one of the most powerful parts of
UBAs which is the sampler. Alright? So the sampler is
fundamentally a tool that allows you to import
a piece of audio, and then you can re trigger
a different purchase or you can trigger different
slices of that long audio. Alright? So let me
show you what I mean. So first of all, let me
show you this new song. Okay, right now,
there is no voice, so we're going to work on that. Alright? So first of all, let me show you where
the hell it is. You can create a empty sampler by clicking here, Add Track, and then create the
empty sampler this way, you know, here, and then you
just keep a name like this. It's going to be triggered
by immediate control. So as you can see,
which is very cool, or you can simply enable the lower area of the
program like this. And by default,
it's going to have the sampler control here that you should
drag in any audio. The only limitation of this
is that it will need to be in MP three or wave
format, right? Which means that if your project is set up
to record in flack, which as I told you, you should always be in flack. If you want to work with this, you should make sure
that the tracks are temporarily being
recorded in wave format. So you simply press shifts and change the format for now for a few minutes back
to wave, right? L. Alright, so now
where will we record? Well natively be ready should be imported
into the sample. That's the point. So let
me show you what I mean. As you can see here,
we have some samples. We already know all this stuff. We're using some reverbs,
some compressors. At this point, we
know how to do it, so we can skip all
of this, alright? So instead, let's
go to the fun part. So right now here we have the
source of this performance, which is fundamentally
simply a piano. Let me show. Okay. So we had the media format, the media source of
this performance. So let's see how we can use
this on a sampler track. Alright, so for now,
let's mute this, and let's create a
empty audio track. Alright, so we go here. And yeah, let's make sure that our audios routed correctly,
let's call this Boys one. Alright. And here, we're
gonna record a performance. Alright, so let me show
you what just happened. I just recorded a
free performance without click, without anything. And I did it on purpose, right? I simply re pitched it a
little bit with audio here. And also, I already
applied pitch correct preset and some dasing simply
like this, you know? And I recorded this as
noisy as possible, as well. So right, let's
see the situation. Mm hmm. Mm hmm. Mm hmm. Huh. Mm hmm. Mm All right. Alright. Okay. So and at this point, let me show you one
way to kind of pre render this truck and
automatically reimport it. Okay? So let's suppose that we want you ready pre processed, even before we import it
into the sampler, right? Even before doing that, let's apply a secret truck that will denise I'm gonna use a plugin
free plugin called R Noise, RNN noise, which is free plug in I'm going to show you later, how to install it. Let's apply this after
the pitch correct here. Okay? So here, we're going
to simply Draw again, this nice, miraculous effect, which is gonna remove
all the noise. Mm hmm. It's crazy,
right? Mm hmm. I'm gonna show you how you use all this later, how you use. Don't worry about this for now. Mm mm. All right. Let's increase now the
volume of this as well. Not that much. Okay, okay. After
we start to have decent preprocessing
on the sample that we're going to
import into the sample, we can kind of pre render this and reimport it
quickly, alright? To do that, there is a trick
called render in place. So you simply
select the range or actually the specific clip that you want to pre
render like this. And then simply go here, edit, render in place, and then simply confirm. So here, render settings. And as you can see, there are different
levels of pre rendering. In this case, we want
you fundamentally include simply the settings
of this track only. So we simply select channel
settings like this. Alright. And yeah, so then don't
change anything else, copy my settings, simply
keep it the custom names, so let's call this voice
pre shops like this. And yeah, and then we simply confirm. Let me show
you what happens. So now, just convert it this taking account
of the effects. You know, I just frozen that as a file as a way fire.
That's the point, okay? So that way, as you can
see, the track here, the source track
automatically got muted, so it's not going to interfere
with our rest of the song. And we can actually disable it completely at this point by right clicking and
simply disable track. This is going to offload the am used by those
effects. Boom. Okay. And also, we can hide it. So we simply go to visibility and then select the track here, voicemin and uncheck it. Boom. And yeah,
now we're ready to import this into the
sample. So he that? Let's simply go here. Enable the lower zone and
drag this in down here. Oh, that's it. Alright. So this automatically created a sample track already
with a sample down here. We see here. So let's put it
close to the source voice. And also, we don't need
the source track anymore. Okay. So now that we're here, we're ready to simply link a
controller from real life. So wait a couple seconds. And now we can play this
as if it was a sample. Alright? You see that
now, we have a keyboard. Let me see what it. Let me
show you what's happening. Mm. Right? Okay, so first issue, the volume is not too high, so let's normalize
it automatically by pressing this
button to normalize. Boom. Okay? Then we need to
change the sample start. Otherwise, it's going to play the initial noise
that we don't need. So let's simply zoom
in into the editor. And actually, I recommend
developing the habit of editing the sampler
by going full screen. So we actually go here, press this nine button,
separate window, and simply resize this window, so it will fill
your entire screen, you know, so you
can work better. So first of all, we
need to use Zoomin at the beginning of the sample
and change the start, you know, to the actual
first note here, okay? Mm. See what is happening?
Now, we can start to use the sample
properly, right? So there are two ways to use it. First, you can simply re pitch the sample itself by simply
playing the keyboard. Let me show you. You know, and we can also play
polyphonically, right? So you can simply do
See, it's crazy, right? So you can create an
entire instrument instantly by dragging in
a short sound, right? But obviously, if I
keep the note pressed, it's going to play the
entire long sample. So I'm going to show you
that technique later. In this case, we're going to use the sampler in the second mode, which is slicing, okay? So let's go here on the bottom left of the sampler and let's enable
the slicing mode. Like this s is going
to automatically detect the point of peaks and
alleys of your long sample, and it's going to create
all in complete set of separated samples
that you can trigger using the
keyboard nodes. So let me show you
what is happening. So now every one of
these samples has been assigned to one
key on my keyboard. So if I press now some of
these. See what is happening? So this is called slicing, okay? Mmm. Alright, so you can see where we're
going with this, right? So this is the very
powerful technique. You instantly create a kit of
drums or whatever you want. So A this is polyphonic, so I can play many of these
at the same time if I want. So I can simply explore
the more interesting ones. Then I can create a
rhythm, you know? Mm hmm. See what is happening. That's the point. And then you can still record
the performance, right? So you can also re
pit this in case. This case, we're
not going to do it. We're going to do it later
with the second mode. So this is one of
the quickest ways to deploy the sound in the
most powerful ways. So we're going to use
simply in slice mode, and yeah, let's keep it original and now we're gonna
record the performance. Alright. Let's change
simply the envelop of this. So we go here to
amplitude modulation. And you probably recognize this. So it's our ADSR that
we saw earlier, right? So we can simply change
the envelope per key. So let's make it
slightly more clicky. So what's happening? I'm
really playing almost random, but it still creates
interesting things because this is right now
still dry stuff. But as soon as I apply some reverb, for
example, like this. Right? So we can create
three interesting things, and just very quickly with a couple of effects and
this lighter, right? So now let me just
brainstorm an idea, and I'm going to show you
later what I did, okay? Pause, Tiscip, let me
show you what I did. So I simply created the most interesting
performance that I could by layering some
multiple nodes on the sampler with this sample
that we imported, right? Simply. And then I applied some chain of
effects to maximize the uh, simply the loudness,
a little bit. I just bit crushed it. Then I controlled the constant a little bit with the ester and then some rerib which right now is simply
zero, actually. And actually, we're not
using even the gait. So all these things are
bypassed right now. And then I made voice slightly
more a little darker, you know, like, a
little controlled. And then I compensated a resonance that was emerging
around this area here. And yeah, so let
me show you what I did what I have so far.
Let's put it in solo. Right? So you can really achieve very interesting things simply
with a sample. That's it. Right? I'd be very powerful. Alright? So, at this point, let's a sure you listen
everything you got her, right? At that point, you can
simply close the sample. You don't need to edit
it anymore, right? Now it's literally an instrument ready to play at
any time, right? Okay, so then what I did was to simply duplicate this track. And on the second one, we have won the same thing,
fundamentally, but with reverb open, gait activated, and the denoiser on top of it at the beginning, just to denoise it
even more, you know? Is right. So let me show you what is happening
now. Be prepared. Alright. Ooh. So you can see that can
become very powerful, okay? And then here we have
some heavy metal track. We can go we cannot live
without this, obviously. And that's it, you know? Alright. And yeah, let's play the drums with voice. Let's see what is happening. Right? We have simply hold this up at this point,
you know, right? So we have simply some side
chain. Kit right here. At the same time, we have beside you in compressor, right? Receiving the drums, right? We own all this stuff, so we
can cape of this already. And yeah, yeah, in the master, there is some squasher, right? Plus a dasard which right
now is disabled. Yes, yeah. So that's already a proper
full song preparation. And that's made puzzle. Thank you the slider. Thank you the slider
inside the sampler, right? So that's one of
the two major ways to use the sampler
in your song, okay? So now let's go to
the second thing. So let's see how
we can simply re pitch a one shot note, right? So to do that, we can simply record a random note.
Alright, here is. You see this short sample. This is simply a random
recording that I did with this weird thing called
Jazz heart, right? So this instrument
is you've probably heard this in, you know, kind of Italian Sicilian
movies, you know, they play this weird
tiny instrument, right? So I simply sampled one of these one shot notes in real life, you know,
with this sound, right? Okay. At this point, we can simply create a sampler, pick those, drag this in, boom. And we can disable all
these source tracks. We don't need these
anymore, so hide. Alright. And down here, we have
the note one sampler. Alright, let's keep it
here. You know what? Let's start you apply
the media performance that we have there sitting
for the whole time, right? So we start to shift this guy down in our sample.
So let's put it here. Okay? Let's see
what's happening. Okay, obviously,
it's a mass because the root node is not calibrated. So we need to simply go to
the sample first, okay? And first of all, we
need to normalize it. Full screen. We tweak
the sample start, so it triggers on the
right spot, right? So otherwise there's a delay. Okay, so calibrating Mm hmm. Alright, exactly. You
see what's happening? So, since I know
that in real life, the note of this instrument
was B flat or A sharp, as soon as I play the calibrator into that note, actually, now, when I press the
Cs gonna actually play the real C. That's
the point, you know? So, people that have purple pach may have a very
easy time doing this process. Instead, if you don't have the
skill, simply use a tuner. You know, use a tuner
on your iPhone, right? And then play the instrument
note close to the tuner, and we'll tell you, Okay, that's the tune note of this
instrument is this. You know? Okay, that's the
way you figure that out. And yeah, so then now we
can simply play this. Alright, so at this point, let's make this sound a
little more polished. So we can also put one
octave up, for example. Okay? Okay. Let's see what is happening.
I can simply play. Ooh, right? Okay, let's make it a little
more interesting by changing the playback mode at this point. As you can see, right
now, we are using the sampler in the
first mode, playback. We can use one of
these modes to make interesting micro stretches
for every single time. If we re trigger the
sample. Let's see. First of all, let's change
the end point of the sample, so we simply change this right. And also, we can
add a slight fade out like this. Alright. Okay. All right, let me show
you what is happening. See what is happening.
So right now I'm kind of stretching the
length of the node. If you want to create a base, this can be a trick to make
a hyper base like this. Right? So I can become something significantly different. That's
the point, right? Then you can change one of these algorithms to change significantly how
it's gonna sound. Let's see, for example,
what's spectral. So this happening,
you can create very interesting artifacts. Alright? So you can really experiment
deeply with this, okay? Completely different
sounds, you know? I almost becomes a
woodwind right now. So, for now, let's
go back to music. Alright. Let's keep it away, let's just make it the envelope
a little more clicky. M. And yeah, now we're ready to go. So let's go here.
Okay, now we're gonna do some potishing and then we
see how we can layer this. For example, we can apply a
bit crusher through this. Okay. And then we simply
sacrifice some frequencies. We didn't hear the whole
thing. You simply elects? You know, just a tiny layer and the pre the things that already exist in
the song, you know? You know, just like that. Just let it sit there. You know, so let's place it maybe
slightly on the left here. You know, so we can make space, we keep some space
on the central. Alright. And, yeah. So that's
really a good intro. And then let's see
the entire song. It Alright, right, right. That's it. That's it.
You know, at this point, you can simply have fun
with the sampler by using either the playback mode and re trigger one short sample
in multiple pictures, you know, or just use
a long sample and simply trigger different slices of that and rhythm
with a song, right? Finally, let's see
if we can layer something more concrete
above the drums. So right now we have simply some drug and based drums
using group agent, right? Alright, which are
very fat, very good. But let's suppose
we want you to add a final layer using
beat box, for example. Okay? So to do that, we can
simply record a nice tractle. Let's make it empty new tract. Let's go see audio
beat box a source. And it's gonna receive the
signal from my condenser, Mono in, and it's going to go to the stereo exactly
master. That's it. Confirm. Alright. And
so, first of all, let's record a free out of
time recording, alright? Make sure, let me double check
if the input is connected. Let's go to app for condenser. Oh, yeah, I need to change this to physical input to
number three. Exactly. Okay. Because my cable right now is going intia the number
two. Alright, right. Okay, now it's ready. Let's
see. Exactly, please. Okay. Yeah. There it. Alright,
so okay, let me think. Okay, let's see. We're
gonna record without click. Let me also record
to notes as well. L. Okay, let's see
what we have so far. So. Y. Wow. By y. Okay, so now we simply select all these two samples and we put them together,
right? What about that? So we simply go
again here, edit, render let's go to settings, and let's call this
beat box Bathops. Okay. And make sure that you include the
channel settings, and then let's render it as one single
block in this case. So we change as one event
exactly that confirm. Okay. Boom. Alright,
that's it, right? So now we are ready to
drag this into the sample. So we call one new sampler. We drag this into that here. And yeah, now we
can simply disable, first of all, the sources. So simply disable tracks here, boom and hide those
here, boom, boom. Okay. Now we're ready to use simply the chops of
this track here. So we call the beatbox. Beat box shops,
actually, like this. We go to the sampler and enable immediately the
slide mode. Boom. And let me show you
what is happening. Enable, boom. Whoo. You see what's happening? So
it's crazy, right? And you can tweak the
precision of the detection of the single samples by simply
tweaking the threshold here. So, the lower it is,
the more samples they will create,
which is crazy, right? You can also choose the
minimum length of each, the method of detection. So in this case, sins is a
free recording without click. Makes sense, use the
transient mode, right? But in other cases, you can use one of the older modes here. You can even adjust
the lines one by one, but it kind of defeats
the purpose of this. You know, the cool
thing about this is that you simply drag
in something and it will instantly
create fundamentally a drum machine based
on that, right? So, okay, in this case, let's extend the range of our recordings so we can
have even more samples. Whoo. You see what's happening? It's crazy, right? So
you simply extend this. Alright, let's see. Go and yeah, believe it or not,
now we have a crazy, full drum machine based on that single
recording because now, So I have infinite variations of similar sounds or
different sounds, actually. So if I go deep enough
in the keyboard. Sure. Obviously, we're gonna reach the second part
with melodic things. And then you simply find
some interesting parts. And then we make it
slightly more clicky. So we go again here, here, Okay. Return to the normal window, re click on Md here, right? Hey, let's find a high hat. Okay, for example, this So
that's the point, right? So at this point,
since I already have a drum performance
with the media, I can simply start to recycle what I have already
here on the drums. So we drag all here. Alright, so we have
this thing here. And now we need to simply
choose the right notes, right? So we simply glue these two clips together
with four and click. And now we double click. And yeah, we're going to find
the right click. Let's see. Let's put this in solo
for now from here. Okay, so let's find the snare. So here, this should be
the snare in theory. So let's find the
snare with this. So right now I'm simply
pressing up and down. Alright. Okay? This
inside should be a kick. It's crazy, right? Oh, I kind of like this
snaire though. You know what? Okay, let's we're gonna
alternate multiple snares. Okay, you see how
easy it becomes. So then this is
definitely one of my top here Manish make
music instantly, you know? Find a nice kick. Probably Okay, here is. Yeah,
that's a deep kick. Yeah. Yeah, that's a
perfect kick, yeah. Alright, let's see
the snare. Alright? Oof, right? Oof. It's
crazy, right? Oof. Yeah, obviously,
then you can tweak. Every one of these
notes to be different, to be super detailed, right? This would be a short
variation here. Alright. You can change
this, obviously. Oof, right. You know,
it's crazy, right? Hey, let's double
this. Okay? And then we simply squash it. You
know, what about that? We go here, maximizer. Okay. And then we're
going to denoise slightly let's see if we can do it
by using a simple gate. So we go here. And so we go to the channel
strip, enable the gate. Alright, let's see. Okay. You know, so we kind of
make it more clicky. And we put it be fader, right? So it makes it cleaner. Okay. Alright. And we'll see how it sounds
with the drums. Crazy, right? So it's kind of an additional
nice detail that you can add to
these things, right? At this point, we can
maybe make the drums less loud to make the beatbox
drops. Me audible. We are now on the mixer. We
press up three. Let's go. Let's see where we
are. So we need let's shrink these things by
pressing GNH, right? And let's see where we are. So these are the beatbox shops. The drums instead
are here are here. So let's chip these on
the left. So we go. So we just simply enable
this zone so we can shift these channels maybe
at the center like this, right? Okay, now
they are closed. The chops and the drums
are closed, right? So we're going to
now the two volumes. So maybe these drums can be a little quieter
now because we have also drums of the beatbox. So it seems that these
are busy with automation, so let's let me disable the
automation so I can move it. Alright, see. And now we just evaluate where is the right
volume by listing everything. Alright. Wow. Right? Oh, what about What about putting this at the
beginning instead like this? So we put this back about zero. I think it was minus
Alright, let's see. Right? And then this would become a
powerful thing later, right? Woof, right? So, yeah, that's one idea. It's stretch a bit
crushed. Let's see. Right? Ooh. Right? Create contrast.
That's the trick. That's the name of
the game. Make music. Create contrast. And yeah, so you came fun with
this technique, alright? Now it's in your hands.
37. Drum Track: If you want to
understand what the hell a drum track is simply
is a sampler track. But with the ability to load, multiple independent
samples with multiple independent
settings per sample. That's it. You know? So if you know how
to use the sampler, you already know how
to use the drum track. Alright, so let's
create a new track. First of all, here,
add drum track. And we're going to control
it with the keyboard. So we're going to simply
select midi part here. And as you can see, it's
already connected to my controller and S's
coldest drums one. And confirmed. Alright. So
that's how it looks like. In case you don't
see this window, just turn this window
manually from here, alright? And your value. Okay? So as you can see, we are simply the sample slots. And here we can drag
in again where we want from base,
from the explorer. You can simply drag in one of the internal sounds
that you have here? Alright, so we can assemble
our drum piece by piece. Alright. So yeah,
so for example, select First press one key on the keyboard to double check that is
receiving the signal. Alright, you see
what's happening? So when I press keys, it's going to light up to
say, Okay, you know what? That key coincides
with this square here. So right now, I'm going
to press one key. Alright, here is, I'm
going to outsign a kick, so we select the list. First of all, here, Kok is gonna give
us four base kicks, you know, and then
we're going to customize, you
know, one of these. So for example, let's choose
number two. Alright, right. And yeah, so and then we
can simply customize it. K. Each of those four
kicks has unique features, you know, so it's going to
sound very different every time. This is more clicky. This is more noisy. And this is a slightly more
distorted. You know? So after you choose
your first base sound, you start to customize it. So you click here, and
then it's going to give you the unique features
of that click, you know? Okay, let's make it a
little more impactful. Let's make it a little shorter, so we choose this button
here to automatically get the sound out as we release the key. See what's happening? And yeah. So let me just customize a little bit
with these nice knobs. Alright, right, let's keep
it very very distorted. So we're gonna make a rage
track this time, right? Okay, and finally,
let's tune it by changing the tune here. Let's go with AF, so we can make a
song in F, you know? Alright, and let's go with the octave with
the lower octave. So F, the F. So
let's go curious. Alright? Alright, right. And after you you're happy with how that sound sounds like, simply let's just assemble at least a snare. So we return. We click on one empty
slot like this, and we're gonna choose
it's gonna automatically go back to the list of
the default sounds, and we're gonna choose
a snare now, you know? So let's try Snare four. Okay. Let's choose something that is a little more a little
more tunes, you know? Okay, let's reduce
the noise to zero. Alright, let's make something a little more ethnic. Exactly. All right. You know, and then we can start your
experiment, you know? Hey, let's then simply
choose a high hat, and we have the base the basic basic drum set
ready to go, you know? Alright. Okay, let's make it very short and also here. Okay, let's see
what's happening. Okay. And finally, let's
use a hope and hat. So we go here. Finally, we go
symbols symbol type three. Alright. Let's make a little less noisy. And Alright, let's see. And that's the point, right? So the cool thing is that here, we can have independent settings per single sample
means that we can pan, for example, each
sound independently. Whereas in the sampler, we are forced to a
single tan setting unless you can automate it, which, by the way, here, we can even automate every single knob here independently, which
is crazy, right? So, okay, in this case, this is the first way
to assemble your drum, simply customize, you know, kind design it manually. And then when you are done, simply go to this
night cube button, preset management, and save it. So that way you can call it later using the load
button, right? That's it. But if sometimes
you have no time or simply want you can be
inspired by something, simply try to load one of
the existing templates. So we're going to do
that. We go here load. And let's use, for example, as you can see, we have
many presets available. Let's try beat
Starter number three. Alright, as you can see, automatically fills
up all the samples. Ready to go, so we can
simply experiment, you know? Oh. Ooh. Alright, so let's try beat four. Let's see. Beat Makers delight. I kind of
like this. Let's see. Alright. So let's go to Beat Star four. I
kinda like it more. Okay, I know that
was number three. Don't worry. So let's
go with number four. And yeah, so let's close
now this annoying window, and right, where we're here, let's call this drums. And we're gonna
record a pattern. Alright, what about
that? Alright, okay, I finished doing the vocals. So let me show you now, let me analyze first of all the effects
chains that I used, and then we're gonna listen
the whole thing, alright? Here, in the drums, I simply applied a maximizer that I'm gonna show
you later how you use. It's a simple cree plugin. We're gonna show you
later how you install it. It's very easy like this. It's fundamentally
alternative to the squasher or the
maximizer, alright? Then I simply apply the bit crasher and
that's it for the drums. Instead, here on the base, I'm using a halon sonic
with a base preset here. So just use whatever base
preset you may have. Just search base like this. In this case, I use one of the sents that I
have available here. If you don't have the
specific preset here, just use whatever you
find, you know, here. And then I made the make sure that this base is
kind of very short. By just reducing the
reverb, the minimum. And, yeah, that's it.
Then I applied, again, a maximizer, then amplifier
with and then a bit crusher. And finally, I reduced a
little bit the basses. The base fricst too much, and then I controlled
some resonances. You know, not too degrees
this stuff, right? And that's already the drums. Ps bass. That reverb that you see is a automation on
the master track. So here we have the
master effects. As you can see,
there is a squash, the reverb that you hear, and only in that spot is simply the mix of this revelation, which is exactly here, right? So that kind of opens the
reverb only for a second. Then then closes on
time with a snare, which is exactly here, right? And then simply I
have some deers, to control some
annoying consonants. And finally, again, another free plug in, I'm going
to show you later. This is an amazing
flanger modulation. And then a little trick, you kind of conform
everything by placing a nice general
reverb for everything, but very low, as you can
see, simply 9%. Okay? And finally, a safety limiter, that never misses
in any project. Okay? And that's
simply how I achieved the bass plus the drums, right? So then let me show you there is a first backing vocal track. Alright. It's a simple performance that has been gated on
time with the drums. Thank you, this gate under here. Were you know this technique
at this point, right? So it's receiving the signal
from the drums, obviously. I just forgot to enable
prepay remote, right? And then same thing for
the compressor here. So the compressor is also
receiving the drums, right? And what else? Then then there is
a classic routine. We have the aer, we have
a flanger, maximizer. Then there is another
very useful effect. The cloner will create
multiple copies of the same sound all at once without having to duplicate
the truck too much, right? So we have a single truck that actually feels like
it's four tracks, you know? And, yeah. So. And then there is some kind of ambience
to kind of place this sound inside the car, you know, to kind of
make it more creative, more indirect, you
know, on purpose. And finally, we have some deniser we already saw
in the previous module. I'm going to show you later
how to use this as well. And obviously some
picture correction because this is a melodic track, and that's it for the voice. If you want to know a
little secret trick, there is a way to
automatically hide all the open
interfaces by simply shift clicking on
the E icon here. So if you do this, boom, it will immediately hide all the interfaces that you
may have opened, right? And, yeah, so that's
it for the vocals. Then I think show you
the rapper track. So let's call this rapper. Alright. Actually,
let's call this age. Okay. And yeah, so let's see
what happened here instead. We like to brack.
We like to brag. Look, we like to brat.
We like to brag. Yeah. Yeah. He likes your brat. He likes to brag. Yeah.
We like to brack. Alright, Let me show something in the kick drum. Let me make it shorter. Alright cause there's
already debates, you know? All right. Yeah. So the race track is
fundamentally a copy of the backing vocals only that we have instead the
flanger enabled. The cloner is a little heavier, and we have the diaster and the tremolo also
enabled instead of the So let me show
you the tremolo fundamentally goes us to
have this modulation here. We like. We like happening. So we can make it rotate. You last exactly. Alright That way, we can start to more
enraged, you know? That's it. Yeah. Very simple. There's simply some
chopping going on here with the fade, where
you know this, right? I use this technique, so with Control Alt, as you can see, I can
rotate the content without having to move the
clips and mass. And that's very useful quick which you it all
these ball in bulk, right? And so, yeah. Then simply we mix
the volumes, right? You can choose to play the ray track a little
more in the background. Placing the back vocals,
actually, a little higher. With the master on the
right. Yeah. And yeah. You can see simply
four tracks already make are enough to make certain
genres of music, right? So that's, you know,
that's the takeaway. You should be creative
and that's it. Sometimes it's about a
group, ready create, right? You know, for certain vibes,
this is rare enough, right? It's simply drums, bass, and a couple backing
vocals and main vocal. The point is that sometimes
Mill attempt to create the illusion of multiple tracks, and that's enough, right? Thanks to the reverb,
delay, and cloner, six or seven things going
on at the same time, even though we have originally only four source sounds, right? Yeah. That's the way to deploy the drums, real truck, you know? Anytime I can change the kit by going here back to the drums, and you can simply
try new kits, load. Let's try your starters. Ooh. Right? So you can find
quit instantly new vibes. Ooh. Try other ones. Ooh. Alright. Ooh.
It's just a matter of finding the
perfect one, right? Right this one. Breaking peace. Oh. Oh, interesting. Ooh. Ooh. By this. Try this trapper.
A little weird. Let's try see this. Alright. Me classic, more rock. You see it changes completely with every
single drum kit, right? Try Dustin Grit. Let's see if there's
something more weird. For example, night skate. That's weird. Dry momentum. Yeah, it's very dry. It. I like this, see? Oof. Yeah. Ooh.
Alright. Very heavy. Making the drums a little more angrier by using some
distortion. What about that? Try distortion. One here. Yeah. Ooh. Woo. Ooh. I misch. He automating this.
Right. Right? That's the point. He
automate this though. Yeah. Fine with this, alright? Gonna keep dancing
for some time.
38. The Mixer Console: All right, so the mixer is a control center of any
project where you can easily monitor every
single effect of every single track that is reproducing audio and
even more than that. We can also monitor medi tracks, the input tracks, the
output tracks as well. So it's kind of a quick way to mix your tracks more easily. So to access it,
obviously, press a three. All right. And here is. So we can squash it
by pressing G and H. Same thing as if we control
the timeline Zoom, right? And we can control
the zoom level vertically by pressing
Shift GH s, you know? So you can kind of
make more space to read the rack effects, right? So first of all, let's
optimize the space, right? We have this song. Okay. Well, since we're gonna listen to this
song multiple times, let's reduce the volume
from the master here. Usually the master is this fader here that has a completely
different colors you can see, compared
to the rest. So let's. And also, usually
it's on the very right. So let's reduce the volume
of this first of all, Okay? And let's slow this song down. Otherwise, we will become crazy. So we press up to, and
we reduce the BPM here. One of the cool
things about songs that are entirely based on the samplers and medi is that you can simply
reduce the BPM, and the song we
simply becomes lower. It's crazy, right? Isthm like that. I'm gonna show you later how
this is possible. But for now, this is now
the topic of this section. Okay, so let's
return to the mix. So first of all, as you can see, there are some channels
that we don't need to see. For example, the monitor, the physical input channels
are useless in this window. So let's hide those by
pressing this button here and disable
the input channels. Alright, so we don't see those. Also, the master,
as you can see is kind of mixed up with
everything else. Instead, let's separate it. So we'll keep it on
the very far, right? By using the zones. So we go here on this button. Here and you simply choose
three areas for each channel. So in this case, let's choose the right part of the
program for the master. So that way that separated,
easy to watch, you know? And I was thinking
to you three areas, so we can play certain stuff
at the center on the left. So, in this case, let's keep
everything else on the left, like this. Alright, that's it. And then simply
close this window. Alright. In case you
accidentally move a fader or you
disable an effect, just know that you can
simply reverse the action by pressing the undos
from here, alright? So for example, if I
move this by accident, and I don't remember the volume. I can simply reverse
it back. Like this. Let's also make this
song a little darker by applying a nice flutter
to the master, like this. So we enable a nice lopes. And then let's apply a reverb. So it becomes less annoying to listen this multiple
times, you know? Alright, poof. You know? Okay. So yeah, so that's it. So fundamentally here, the
main way to use the mixer is to set up the routing
of your channels, the effects and be transferred
easily by doing this, you can drag one effect to
one track to the other. Or you can simply
drag it with Alt, and that will duplicate the effect to another
track, you know? Okay? Or, in case you want to eliminate effect from a truck, simply drag it away like this. For example, we want to
remove this weird effect. Drag it in an empty
space like this, and we're om, completely
eliminate it, you know? So let's back up from this, Alt Zoom and we'll
be back. Alright? So then another thing
that you can do is to optimize the
space of the racks here by simply right clicking
on any of the racks like this and then expand the
section exclusively. Make sure that you enable
this amazing feature. That way, when you
click on a tab, it will automatically
close the other ones. So and make sure that
you kind of set this up so that you can only
see the bare minimum that usually most people need, which is simply the routing. Sticking to each track right now is going to the submaster, except for a couple
of those which are going straight
to the master here. And then we have the
inserts, obviously. And finally, we have
the post fader effects, as you can see,
which this line can also be changed
like this in case. And we have the sands. So these are all the side
chain sources, as you can see, each one has independent
volumes like this and also can be set up
to be post or pre fader. We already saw all
these things, right? Yeah, so that's the minimum extensial setup that
I recommend you have. So at least you can control
everything way easily. You can monitor all the effects. You can tweak those from here. You can also tweak
the volumes and the panning for each
single track, right? Now, let me show you
a couple of tricks. For example, sometimes you need to move faders together, right? So instead of doing
this manually like this, like this, like this, there is a more smart way to
do that, which is linking. So you can temporarily link
tracks by selecting those, and then hold cold shift. And that way, now these tracks
are temporarily synced. So if I move any
father of these Wow. You see what's
happening? Now they're being moved together,
right, which makes sense. And then they simply
release these two keys, and they return to
be independent. Alright? How cool is that? Go back. And same thing for
any change that you do. If you change the panning, it's it's gonna be synchronized. If you change anything you want, really, it's going
to be synchronized. For example, another
way to use this is to mass change the routing. Let's suppose that would
you send these three tracks instead of the submaster
straight to the master. So to do that, instead of
assigning these one by one, simply select these
three, then again, link. And while you still
keep these keys down, select the routing of any of these three
synchronized tracks, and we reassign it. For example, go to the
master. Mom. That's it. So now these three are going all together to the
master straight. How cool is that? That's it. And yeah, so you don't really need too much
of your buttons. All your things are kind of
more details, more niche. If you know these
tricks, already, you can do 90% of the mixer stuff, and
that's it, you know? Finally, let me give
you one more trick. For example, let's suppose we
want to copy the effects of the harp reimport to the
beatbox chops here, right? So to do that, hold all
for the whole time, then drag from harp reimport
here to the destination, which is beatbox chops. And let me show you what happens when you
release the mouse. Poof. Well, apply the
entire chain copy to also the
destination. That's it. So now we have an
exact copy of that routing to the beatbox
chops. You know, that's it. So let's go back.
And then instead, if you want to
rearrange the track, some simply drag this way instead without any
additional key. You know, remember that
you can mute or solo specific tracks by selecting
those and pressing S, right? Or muting those with M, okay? And then you can also if you have already
some tracks in solo, and you want to, for example, put a specific track
straight in solo, whereas Control S instead. That way you all
force that track to B straight in solo
exclusively, you know? So you don't need to uncheck the solo and re enable
it for the solo. You can simply
straight, say, Okay, I want you solo only
this track, you know? Then remember that you can
return to here everything at once by simply unchecking all the solo states
from this button. Or do the post in case
you want to un solo. You want to disable all the mute stays from this button here. You can also disable
all the execution of the automation with
this button here, right? So when this is
unchecked, and now all the values fundamentally
now are manual, again, and the other way around. Like remember that you can
assign a specific you can reroute specific
tracks straight from here by selecting those and
right click on any of those, and then you can send
these to a group track or to a effect track for parallel processing
where you all this. And finally, let me show you one of the tricks that I use
myself all the time, which is preset, you know? So you may realize that when you when you start
to make many songs, you may realize that
you can use pretty much the same sequence of effects
in specific types of tracks, or you would like to have some
kind of template that you can start with every time to
speed up the process, right? There are two ways to use that. You can simply select
the track that has the potential
template like this, for example, bass bass guitar. Let's let's return
to full quality. So let's re enable
the no reverb, and let's disable the filter. Okay? Let me go back
to the timeline. Let's see what is happening. Oh, yeah, we need to be here. Alright. Boom. Okay.
Let's go back here. Let me check. Anthony? Oh, it's kind of low volume, let me go. Okay, so for example, we found we kind
of realized that these effects are very recurrent in our projects,
for example, right? So we want to simply save these effects
as a preset, right? So we can simply write click on and the insert of that track. Then save Effect chain preset. That's it. You know,
so you save it. And we can call this kind of default default base one,
you know, like this. And then save.
Alright, from now on. Whenever we want, for example, suppose that we
have a new track, you know, kind of empty track. So actually, let's make
it empty effect track. Alright. Let's call this. Let's keep this
empty. No effect. Alright, boom. Okay. So here, we can simply load
those effects. Let's see if that's
true. Right, click here on the inserts
of that new track. Load and should be here. So we search default. Ooh, that's it. So
you simply double click on that one,
and that's it. Ha. You see what happened? Now we have exactly those
effects with the ability to code those on any project
we want, which is crazy, h? And, yeah, there's a
very similar feature, which is the track P set, which instead of saving just
the settings of the inserts, is going to save
also the settings of the fader and the panner right. So to do that, we need to simply go on the actual
track on the timeline. So in this case, based guitar. Okay, here, and go here on the name on the
very left on the inspector. And it's going to give
us a nice option here, Track presets, so we click here, and then save track preset. So in this case,
let me just move the pen just for the
purpose of this. Okay, now we have 10% on
the left and minus 631. So if we save a track preset, now in the, you should also include those two
things in the settings. So we go here,
save track preset. Okay, we call this default base. One. Alright, again. Let's go here. Boom,
save. Alright. And let's suppose
that we create, again, an empty
new track, right, that we already know
is gonna be a base. So let's make a new instrument track
random ones like this. Okay. Alright. So here, for example,
we can go here, track preset of this
empty track, right? As you can see the fader
is still default, default. But as soon as we go here
on the preset button, load, default base.
And double click. Ooh. You see what happened? It also applied those
fader and panning settings and also the
effects to the entire track. So, this is the way I use this. It's an extremely powerful way to save time in your projects, to make songs more
easily, you know? And, yeah, that's it. That's it. So the cool thing is
that you can also actually save simply
a track preset, and then you can apply
that to the mixer. So suppose let's re initialize the inserts of this track
by control clicking here. So on the Insert, if
you control click here, where normally you can
simply bypass the effects. I will actually re
initialize everything. Let me show you. You
see what is happening? Reset. Yeah. Boom. So now just eliminated all
the effects at once. And now we can simply
right click Load. See what is happening?
It gives us this option from track preset. So let's try that. And it's going to give us
obviously the name here again, default base, but this is
the track preset instead. So it's going to simply gather the effects sequence
from this track preset, right? So let's try. Double click. And
yeah, that's it. You're back in business. That's it, you know? And, yeah, that's a very powerful
way to use this. Finally, a quick shortcut
that allows you to open all the interfaces of all the effects
of a track at once. It's simply Alt Shift, and then click on the E
button of that track. Now it's going to open
these five UIs all at once. Let's see. Woof.
It's crazy, right? So you can that way tweak
all these in sequence, and then you can
simply close those one by one by pressing
Escape, like this. So that we work on this,
work on this, escape. Tweak, tweet to tweak, and
then escape like this. Or, remember that you can
also do this. Let me. Let me show you
sometimes you can also simply close
all these at once, as well by simply shift clicking on the E
button like this, boom. Alright? So, so
that's now should be really all you need to
know about the mixer to do 90% of everything
you may need.
39. Discover Synthesis with Retrologue!: Alright, so it's time to explore the concept of
audiosynthesis, okay? So audiosynthess is
fundamentally, as the name says, the synthetic creation
of sound, right? But the fascinating
thing about this is that I can happen in so many
different ways, right? So one of the simplest ways possible is the
subtractive synthesis, which consists of starting from a complex sound that fills
the entire spectrum, you know, like this and removing some parts of that sound
using maybe filters, right? And then the resulting sound
is gonna be our sound. You know, that's the concept of subtractive synthesis, you know? So then we have, for example, additive synthesis, which
is the complete opposite. We start from an empty
spectrum, right? And we assemble the sound
sine wave by sine wave. So we can really assemble the sound starting from nothing, using exactly its individual
components one by one. And that's the concept of
additive synthesis, you know? Then we have, for example,
granular synthesis, which is amazing
because fundamentally involves using a real sample
recorded from real life. So let's suppose that this
is a sound, you know, going 0-5 seconds like this and involves using
multiple playheads, you know, that move
into the sound and read tiny windows of time, you know, back and
forth like this. And these are the so
called grains, you know? It's very, very powerful
like this, you know. And then finally, we have
the wave table synthesis, which is extremely
powerful again, because it starts again
from a real live sound, but completely
resynthesize the sound by converting it into a
graph of components, you know, but then we can read again using a playback head, which is called wave
table position. We read the table our sound
simply by moving inside that using the wave table
playhead, you know? And, yeah. So that's the these are kind of the four
very popular types of synthesis that
we use nowadays. Then there are other types. There's one called physics
model based synthesis where you recreate a complete
realistic instrument, starting from complete,
just full algorithm. You know, one of the
most famous examples is a plugin called piano tech, which is a complete
synthetic piano. It's crazy. You know, it sounds
like a real piano, but it's just full
model based synthesis, you know? And then what else? Then there are other
types, for example, tropical synthesis and so many other types that we don't have the time to go through
for now, right? So, today, we're
going to explore the simplest of all for now, right? So to get you started, which is called subtractive synthesis. Alright? And we're going to use a plugin in QBs
called Retrologue, which is a kind of old
school style synth, but it's very powerful for this type of
synthesis, alright? The cool thing is that if
you get comfortable with all the parameters
of this synthesizer, then you can become able to understand way more easily all the other types of
synthesis after this. That's the point. That's
why usually this is the first type of synthesis that people are introduced to. Okay, so we're here
in empty time lin. Let's create a nice
instrument track and to make sure that
you select to log. If you have base elements,
you may not have this. So we can still
follow the lesson so you can understand more
about synthesis, alright? So we go here and we call
this track synth one. Alright, and yeah, this
is how it looks like. And make sure that you
connect your controller so we can read play it, you know? And right off the bat, you can notice the
rap show style. Graphics and sound, as you
can see sounds by default, like a old Nintendo video game, right? So we can play. Right? So we can notice
immediately one thing. Even though I try
to play many notes, you will only play
two at a time max. Because the polyphony
is statue two. So let's increase the polyphony
to 16 for now, alright? So I can play free
kind of complex part, you know, with multiple
notes at the same time. Let's see. Alright, okay, as you
can see now works. But sometimes if
you make a bass, it makes sense to
make this become a monophonic synth by simply
enabling this switch. And yeah, and then you can only play one note
at a time, you know? Alright. And then we can enable
the glide like this, which will glide between
the notes as it says. And we can tweak
the gliding time increasing this nice
knob like this. All right. And yeah, and then you can
explore these things here. But these are the
main things that people tweak when they
play it, you know? The trigger button is pretty fun because when you use
the samp mono mode, you can also enable the
re trigger on mode, which fundamenttally
allows you should keep multiple notes pressed. When I release the second note, if the other node is pressed, it will kind of fold back to the previous node that is pressed, you know? Se what's happening? So right now I'm pressing
E, and when I release it, it will still play the
other one that I'm keeping pressing with the
other finger, you know? So this was kind of an old
method of monophonic sens to simulate a pseudo
polyphony feeling, you know? And, yeah, especially if you play multiple parts
fast, you know? So, so yeah, but
regardless of that, let's go back to polyphonic
mode for now, and alright, now let me show you the
most important thing, the waveforms, right? So a subtractive synth has
usually multiple oscillators. So the oscillators are simply the fundamental sound that give the intonation to
the sound, you know? So, right now, let's enable
only the number one. As you can see, there are
up to three oscillators. And let me show you.
Alright? So let me increase the
volume a little bit. And so you can notice one thing. We have available four main
fundamental waveforms. As I told you in the
previous section, all the sounds in
existence in the end are simply a complex combination of these four types
of waves plus noise. Alright? Just pull up a oscilloscope with
supervision ra hers. Let me see if I can
tweak the speed of this. Right? Okay, so now we can see exactly what
I'm doing, alright? Let me just change
the envelope as well. So let's increase the as you can see we have
the classic ADSR. So let me increase the sustain so I can keep the note
on the whole time. Okay, maybe let's decrease
the volume, though. Alright. And yeah, okay, so now we
can see what is happening. So right now we have
a simple the square, then we have the star tube. Then we have the angle. Then the sign, which
is the purest of all. And yeah, you can see
the classic ADSR here. You can tweak the
envelope as you want. You know, like this. You
can make slow attacks. Right? Or you can make very
clicky sounds like this by decreasing both the S and R to zero and then simply
design it this way. Right? So, or you can make
super long sounds like this. You can make some sustain
and super long release. Right? Alright, let's keep
it short for now. Okay. And then you can notice
that we have a filter, so we can simply let me
go back to the square. So let's suppose I want to
make this sound a little darker so we can simply
decrease the cut off filter. So this is a low pass, right? You can tweak the type
of filter from here. You can go the other way,
you can do your high pass, you know, W we want, you know, combine multiple fisters at
once, it's crazy, right? So now, let's go with
the classic low pass. Pick the resonance. If you increase this slide, this knob here envelope, fundamentally, it's
going to animate. It's going to move
the cut off up or down according to how hard you press the keys on
the keyboard, you know? So it's gonna read
the velocity value. So it means that if I
play slow in quiet notes, it's gonna pretty much say
in this cutoff, right? But as soon as I say, play
hard, it's gonna open. I gonna automatically open
the filter because it's gonna the velocity of my keys
is going to push this up, you know, all the way
to open, you know? So this very cool thing,
so keep the filter close. See what is happening? So you can achieve
this effect like this. And you have a separate envelope only for the filter as well. So you can make the
filter animation also very cliquy by
making it very short. Oh, and you can
achieve this kind of wood pseudo wood
effect, you know? And you can distort
it a little bit. Let's choose rate,
for example, here. I go to decrease also the bit rate a little
bit, you know, to create some
artifact. Alright. Every single oscillator has a
big knob called wave shape. So this fundamentally is
a way to kind of fold the waveform into itself in funny ways so you can create
interesting harmonics, starting from the single sounds. Alright, so for example,
let me show you. Let's start from a single chord. Okay? So now show
us carefully what happens in the waveform when
I slowly move the shape. See what's happening? Yeah Crazy, right? So if you start from a
very simple wave, Wow. Yo. Alright, and you
can change the type of behavior by
clicking here, type. And we can change from
sync to something else. So let's go with cross. So it's crazy, right, sir. There are crazier modulations,
simpler ones, you know? So this interesting one to make kind of not harmonic
sounds, you know? Or, yeah, if you
manage to make it still harmonic,
obviously, you can do it. Then let's go to X OR, which is one of
the craziest ones. Alright, so you can create very
old style sounds, you know, with this. Or one of the funniest
ones is multi sound, which is gonna create multiple
voices at once, right? Let me crank this up to eight. Right, and you can de tune the eight and
voices now slightly. Woof. So it's going to create this interesting
modulation, right? And now it's gonna make a more interesting
sound. Let me show you. Let me sure you're
without. One voice? Increase now the
number of voices. Ooh. You see what's happening? And then it immediately
final bass music, right? So yeah, so then let's go here. And yeah, so explore this. Obviously, the purest sound possible is if you go to sign, but this is kind of less
interesting, right? So, right, so that's one thing. Let's keep this on Multi then. And then obviously
you can start to involve the second
oscillator, right? For example, let's
use a second one to make a kind of lower sound. So let's make it automatically
play one octave, lower than the first oscillator. This alright? Or even
higher, actually. Let's keep it higher, alright? Alright, and let's
keep it kind of clear. So it's gonna be a
sine wave, right? And let's keep it in sink mode, and let's change
slightly the shape. My, but let's tweak the volume. Maybe the second oscillator
is too invasive. So let's keep it around half volume compared to the
first oscillator, you know? Right? And so, yeah, then you can achieve you can also enable the
third oscillator. But let's keep it
simple for now. Instead, you can notice
that there is in theory a fourth sub oscillator, which is the sub oscillator. So this will automatically
play one note below, you know, one or two octaves to really increase the base
frequencies, you know? And you can tweak the
fix the synthesizer. So let's make a sub using
a square, for example. Ooh, right? You see that
now there's more base. What? Alright. Alright. Isne and finally, we have a noise oscillator. So here, we can kind of increase the brightness
of the sound. Really fill the spectrum
with some stuff, right? You can use also kind
of darker type of noise using pink or brown.
So let's go with pink. It's less aggressive, you know? Actually, you know what,
let's keep it white, but let's reduce the
volume, so Alright. Okay, okay. And then here we have kind of basic controls to transpose
everything that wants. You can tune your synthesizer to a specific tuning
system, right? So 440 hertz is the
standard of today's music, but sometimes you can
kind of go to lower. You record, for example, the voice first on your song. May realize that the voice is kind of slightly
lower than 440 hertz. So you may adapt your
whole instrument set to that voice performance, and that may end up
being lower than 440, maybe 435 or 32, you know? And finally, one of the
most powerful things is the modulation section here. So LFO means low
frequency oscillator, which is a oscillator that
we never hear directly, but it's simply a
modulation signal means that we're going to use, for example, a sine
wave shaped modulator. You, modulate any of these
parameters that you see here. It's crazy, right? So
for example, let's go. Let's enable the first
oscillator, so LFO one. And let's suppose I
want you modulate the shape of Oscillator
number two. What about that? Alright. So to do that,
we're gonna sign it. So we go here to the source, down here to the matrix, and just enable. Eleph one. Click here, destination,
and then we go to Oscillator two shape. That's it, right? So it's
really a brutal list of everything that is available should receive
modulation, right? And, yeah, so and then we simply tweak the amount of modulation. So let's maybe crank this
up slightly, let's see. Let me just enable oscillator, too, so you see
what is happening. Oh, you hear that modulation. So right now, fundamentally, this pemter is not
static anymore. It's been moved up and down regularly by this oscillator.
That's what it's doing. You know, you enter as you
can see different types. You know, there's
random modulation. You know, let's try a square. Ooh. You hear that click.
That click is caused by the fact that they're using
a square modulator, right? Now, link it to something
more traditional. For example, the cut
off frequency. So here. And Who since this
is completely up, so let's keep the frequency
actually lower by default. And then we kind of
modulate it up like this. And let's use maybe
something more regular, maybe a triangle wave. Oh, right. Okay, now, now we're making
very popular sound called wobble, you know? So this kind of a wobble sound. Alright. And yeah,
so then you can tweak the speed of this
modulation from here. Right? Mmm. Right? That's it. That's it. That's it. We can achieve very
experimental sounds, right, if you use
extreme curves. So you're very, very you have so many
possibilities, you know? And you can sin you can set
up this in very custom ways. For example, you can re trigger the LFO shape every single
time you press a key, you know, like this for each. So it's gonna play kind
of more consistent. Or you can enable the sync mode to make it sound on
time with the music. So so now it's in sync with
the metronome of the song. As you can see it is
already more regular. So we don't have anymore
a bear Hearts value, but the tempo value, you know? Right? How hard the modulation
is from here, in the end, you know,
simply from the dup. You go negative if you want. Right? So you can achieve classic sounds or
experimental sounds, only one place, okay? Then as you can see, you have up to four independent LFOs plus an extra envelope that you can send
to something else. So this is going to be triggered every single time
you press the key, and then you can send
it to where we want. As you can see, you have
up to four pages of modulations for a total
of 16 assignments. Finally, let me show you
something interesting. If you play with a
matrix modulation, in the end, you may encounter this weird prompter
called aftertouch. So aftertouch is a physical
modulation source that gets triggered by some midi
keyboard when you press a key deeper than normal. There's a point where it
will trigger the node. But then you kind of
realize that you can press the key even deeper and that gap will trigger the
additional modulation, which is called, in
fact, aftertouch. Alright? So let's increase.
Let's enable this. Not all media keyboards
have this feature, so that will check the manual
before purchasing those, and now we're going to
utilize it on this keyboard. So right now, we
have this note here. Okay, as you can see, if we have the cut off, placed lower. So let's suppose I want
to make sure that W to be able to open the filter only with the
aftertouch, alright? So choo that, we can simply go here aftertouch as a source. Destination is gonna
be the cutoff and we make sure that it's gonna be a positive increase, alright? Okay, let's see
what is happening. No, now it should
work. Let's see. So right now, simply
this is the note, right? Now, if I press the note
deeper than normal. It's happening. It's
open the note even more. And then I can simply
move the finger slightly up to return
simply to no aftertouch. And I can go back and forth. So right I'm pressing my fingers slightly deeper back
and forth, you know? As you can see, you
can do some kind of back and forth,
modulation, you know? And then when
you're done, simply release the finger completely. You know, that what
the aftertouch is. You know, it's such
a record somethings. Alright, so now I took the
time to compose a little song. So let me show you
what happened. So we have here a first part
with some notes, right? Let me show you.
Okay. Very simple. You know, not too
crazy. Let me show you the patch. So we go here. So it's a simple square patch,
you know, not too crazy. No modulation, nothing,
you know, very simple. Okay. Then I'm using
some it crasher plus EQ. I'm show you the settings. And then a chopper
to make it more rhythmic. Nothing crazy? No? What? I'm using the effects page to make it
more interesting. For example, I'm using
the weaver, first of all. Alright. Then I'm using a delay. Alright. You see
what is happening? Becomes instantly
more dreamy, right? Then I'm using simply
one of the flanders that are completely integrated
into the sinth. You know? That's it. Right? And yeah, as you can see,
there are other things the phaser,
equalizer, resonator. But you choose what you need,
you know, that's the point. There's also a step
sequencer that automatically plays
multiple notes. But in my case, I don't need it. You know, I'll let you
play things by hand. And yeah, so that's the
very first sound, right? And then I enabled a compressor that is gonna
receive some modulation. So let me reveal the other
things are recorded. So we go here and show
the rest, right? Okay. So let me show you the drums. The drums are simply
a drum track, right? As you can see the
drums are modulating the sinth because there is a side chain in the
compressor, right? Alright, that's good.
Okay. Finally, I have a base using,
again, rectulog. So this is a completely
different patch, as you can see, has
different settings. And this is for the
purpose of making a base, alright? Not too crazy. Similar effects,
reverb. That's it. Right? Great. As you can see, the reverb is pretty long,
you know, 75% length, right? Let me show what happens just
with these simple things. Right? Ready? All right. Instant vibe. Alright? Then I record you can pre record
it's on voices, right? Then simply I recorded
a second voice. I transpose the second voice
by seven semitones off, so we achieve a mystical
interval called fifth. That's it. That's music. Alright? Please a nice OTT and the master. Woo. That's it. So hang on with this
stuff. Alright?
40. All The Modulators!: Alright, so the
modulators are one of the most powerful features of
QBse because fundamentally, they allow you to modulate any aspect of any instrument
that you're using, you know, that you see
here, down here, right? That you can send
any perimeter you desire on any effect you desire. You know,
so it's crazy, right? QBse didn't invent this. You know, I was
already a feature in other DAS like Abilton
Live using Max for Live. Then it was already I think
in Bitwik and in FL Studio. As kind of achieved something
that the others didn't, which is kind of integrating
this in a very simple way. Alright? So let me show you
what I mean, you can see, if we have six types
of modulators here. And yeah, let me show you, first one that we
have here is the LFO. So first of all, let's
see what we have here. In the timeline, we
have this song here. We're going to simply solo
the drums and the synth. Okay. And let's bypass most of the effects
on the scent, right? So simply leave. Alright, let's leave
only the river, alright? Like 10%, you know,
like this, right. So it's very dry, okay? Okay. Alright, so let's explore
the first modulator, which is the classic LFOs. So if you are familiar with
the basics of synthesis, you already know what
the LFOs are, right? So they are oscillators. All you should modulate a parmre at regular
intervals. Alright? And this interval can
be a free raw value, like a hertz value, right? Like 1.57 times a second, or it can be completely
synchronized with your BPM of
the song, right? So let's see how
to achieve that. So you're here and we create we select first
the target track. So here, the synthesizer
and click LFO. And yeah, we're ready to go. So, for example, let's
say that we want to use a sawtooth type of shape, right? And then we want this to be synchronized with
our song, right? You can disable this by
pressing this button. In this case, I want this
to be fully synchronized. Let's increase the frequency to maybe one eighth note
like this, right? So now it's gonna
do that, you know. And now we need to send this modulation
to something, right? So what about sending this? For example, into the cut
off frequency, right? So we can simply push this down rhythmically.
What about that? So let's try out. So we go here, and the
way it works is that you simply click one of the
available slots for connection, like this and click
the learn button. And then simply
click the prompter. They want to connect this
modulator to. It's super easy. So we go here and click
on Cutoff. Oh, that's it. You know, I will instantly synchronize that parameter
to this mini interface. So it will show you the
current value here, right? And you see what's
Japan it's crazy. It's kind of moving
this in real time now. So we can simply
modulate it from here. We can choose how kind of the amplitude of the
modulation, right? So we can use the initial
value like this, you know? All right. Well, first of all, let's invert the polarity of this
modulation, right? So we want this to be a
unidirectional modulation. So we change this button
to unidirectional. Alright, see what's happening. And then we need to
make this more extreme, so we increase the
modulation gap. All right? And then
you know what, B's better if we B's better if we can bypass
this at anytime, right? We can bypass this like this. So let's suppose that would kind of go positive, not negative. So we go here and simply
invert this, you know? Alright, let's increase
the resonance, so this becomes more apparent. See what's happening
Woo. It's crazy, right? And then we can change
the node, speed. Right, that's it. And
then you go have fun. You know? That's it. That's, that's the
first way she uses. You know, very simple. Connect to something else. You know, we bypass this,
and we simply go here. And we connected maybe the Let's make this connected
to something unusual. For example, the
type of wave. Boom. We can do it, you
know? So let's do this. You see what's happening? So this is a way to
transcend the type of connections that a plug in normally allows
you to do, you know? So I can grant you that
you cannot do this type of modulation that easily using the internal
options, right? So it's completely free market. You can assign this
to wherever you want. That's the way you
use LFOs. You know? What can you do this more you can connect this to
more classic things, for example, the
fader of the channel. So we were here
through the fader. Yes, yeah, we connect this
to the fader, like this. Boom. And now it's gonna
move it. Yeah, that's it. Achieve a tremolo.
That's it, right? Oh, I can become very
interesting, very fast. Ooh. That's crazy, right? So we can kind of
make the volume kind of shake in an
interesting way, right? And, yeah. Alright, so that's
all you need to know about the LFOs,
so have on with these. Now, let's go to the
second modulator. So let's bypass this. And let's enable a
second modulator on the same track, right? And it's called
envelope follower. So as the name says, this is going to receive the actual signal from a track using the
side chain, right? And then we can send
that modulation to a parameter, right? So what about receiving the signal from the
drums to open and close dynamically
the reverb amount into the retrolog, right? So this parameter here. Alright? So, okay, let's get this
here for now, okay? So here in the
envelope follower, we're going to first route the drums signal to
this envelope follower. So we go here and
connect to drums. Alright? Yeah, let's make
sure that it's pre fader, so no screw up in case
we move the fader. And yeah, now we should see
the signal moving here. Alright. Then we can tweak
the release time to make it super reactive. Teak the threshold
that you can see it's too high, so let's decrease it. Exactly. Increase the gain.
Alright. See that this modulation now is synchronized with the envelope
of the drums, you know? And we can also smooth it,
but we don't need that, we can make it very
clicky, you know? Alright. So now let's first of all, increase the volume of
our synth. Alright? As you can see there
now, there is no reverb, but now we can connect this
envelop follower modulation. The amount of reverb for
about that. So we go here. We click that's it. Right. And then we start to
connect. Choose the depth. Right? Poof. That's it.
You see what's happening? It's fully opening. The reverb in sync
with the drums, right? At this point, then
it's just a matter of tweaking the threshold,
right? Let me show you. Find a sweet spot. Oh. Grace, right? See that it kind of
open the re rib a lot, but only four specific
notes, which is crazy. Wow, right? As if it was a gate,
almost, right? And that's the purpose
of this. You can do crazy unusual modulations that normally would not be that
easy to achieve, right? The crazy thing is
that this allows you should use less tracks. You know, we're ally just
using one track so far. You know, all this stuff is
simply inside this lane. So as soon as we
click somewhere else, it will show us that track specific chain of
modulators, right? So this gay is return here. And yeah, that's all you need to know about the envelope folders. So let's skip this
bypass for now. Okay. And, yeah. What about going
to the third one? Remember that when you
bypass a modulator, it will kind of
leave the value to their last value they were on. In fact, that's why the
mix right now is here. It kind of we stopped
it when it was 51%. We bypassed it.
And consequently, this now stay to that
value, you know? So let's just keep
it around ten again. Oh. The reason why it's not changing is because we
need to bypass this as well, I guess, let's go here
and here, bypass. Okay, now should. Now
is again, manual. Alright? So let's go to
the third modulator. Let's see what is
happening. So we go here and we have a nice shaper. Alright? Okay. So the shaper is kind
of similar to the LFO, to be honest, you know, let me show you how to choose
this differently, right? As you can see, you have,
again, a regular sh you know, we have the ability to
choose the frequency. That's where you know the
stuff at this point, right? But the good thing about the
shaper is that we can choose a custom LFO shape, you know? So we can make
weird modulations. For example, let's use one of the debris that's
here. You know? So we can make these
particular LFO shapes, let's say, you know? And then we can send this
noise stuff, something else. So for example, let's use
it on the phaser amount. Alright. We're gonna keep
it 0% by default here, and then we connect to that one. So learn damp.
Alright, connect it. We see what's
happening, and then we tweak the
ampitude. Let's see. Alright. What about connecting this also to the reverb again. So this learn reup them out. Oof. Crazy, right? Let's tweeze
the matrix. You know? Or, you can do this, right,
more classic things. Right, right, where it kind of regularly jumps back and forth. See what's happening? Kind
of becomes more groovy. You know? Alright, let's do the same with the DA
amount. What about that? So, plus Mar mix. Alright. See what's happening? Yeah, we get it from here, you know? It's crazy, right? So you just see all
these values alive. You can tweak the curve
at any time, right? So you can make
crazier curves, right? Or switch it at any
time, like this. Obviously, this knob here, any of these knobs can be also automated by itself, by
right clicking, right? Show, and then you can see it
in slight right as you go. So it's crazy, right? You can do automations on the automations,
which is crazy, right? And, yeah, so ways have
all these prompters alive, where normally this would
not be possible, right? Oh. Oof. Interesting, right? Okay, let's bypass
all this stuff. And let's go to the
fourth modulator, which is, let's just scroll now. Is lot number four is gonna
be for the macro knob. We already saw what
this does, right? So this is very useful
if you want to control many parameters all at once simply with a
single knob, alright? I already showed you this in a technical side quest
where I show you a way to connect this to
the bypass switch of multiple effects at once, so you can turn those off and on to save a lot of CPU in
your projects, right? But we can also use them for
creative purposes, right? So simply this is simply
Ofcepknob, right? So imagine this like a CA, but full wherever you want. No, not necessarily
for the volume, right? So, for example, we can
connect this to the effects, mixes all at once, right? So let's try that. We go here, and we learn, we go here. Let's connect this to the mix of the bit crusher, alright? Let's keep it on zero
by defaulter, right? And that's connected. Then we connect this to the
mix of the chopper. So this works with obviously
effects that have mix. So we go here, learn,
and it's connected. Alright? So now we keep these on zero by
defaulter, right? And we make the modulation
unipolar, rather, right? And then we simply increase
the modulation to up to 100%. And yeah, and then we can simply apply a manual
modulation from here, you know, straight
from this macro knob for both effects
at the same time. So let me show you the proof. It's one, two, three, four.
You see what's happening? And then simply close
these nice interfaces, and you can draw your
custom animation simply from this
macro knob, right? So show and control both from one knob
instead, you know, here. So you can close this window,
and you're ready to go. Alright. That's it. That's it. Or you can also record
it in real time, right? Remember, you can simply
press W like this and just perform the automation in real time by
moving our nice knob. So we go here. Remember,
make sure that the W is enabled and yeah,
you're ready. Let's see. Alright, right, you
know? And finally, we have the step modulator, which is, again, a
sub type of shaper. So it's still some kind
of regular modulation, similar to the LFO
and the shaper. But the way you create the modulation is
completely different. Fundamentally, we
have these 16 steps or more, if you want. You know, you can
go up to 32 steps. And for each step, you can decide exactly the
amount that you send, you know, it can be in the positive or negative. That's
the cool thing, you know? And we can obviously smooth every single curve
precisely, it's crazy. You know, there are so many things that
you can do with this. And this works especially
well with the synthesizers, you know, and then
choose simply the sync. You can choose to
synchronize this in free mode or to your
media controller. You know, there are so many
things, so many variants. Alright? So let's bypass the macro knob and
let's make sure everything else is
bypassed so I can see you exactly, alright?
So we go here. And so, you know,
let's connect this, for example, to the Panner. So we go here, fader, and we keep this on
the center, right? And we're going to randomize a little bit these guys, okay? And then we connect this to
the panter of the channel, so that way is gonna jump left and right. Right?
What about that? Let's see? Oof. See
what's happening? Then we regulate the
behavior, right? These nice presets, alright? That's it. So that's kind of a custom auto
panner, alright? And you can choose
the speed of this. Alright and choose the amount. So, in this case, it makes
sense that the modulator is bipolar because we
go left and right, positive and negative
from the center, right? So, that's it. That's it. See how it's kind of
jumping, left and right. Oh. That's it. Chris, right? So, so. And finally, there is a kind
of a more niche modulator, which is the mod scriptor. So this is just for the most
audacious kebase users, because if you know Javascript, you can design your own
modulator in theory, right? So you go here to
the script editor, and you can code your actual custom modulator,
you know, like this. So these are sent by default, kind of shows you some comments with the basics of how to
use this language, right? But this is all Javascript. So if you know Javascript, you can achieve this, you know, with stably good ease, alright? Especially nowadays, you can
kind of feed this to GPT, right, and use it as a support. And also, in case you want
to go deeper on this topic, there is an entire documentation by clicking this noise button, and you can kind
of read, you know, all the explanations, all the
functions that you can use. But fundamentally, if you
need a very specific type of modulator with a very custom
need, you can design it. That's the point.
Which is crazy, right? And, yeah, so but
for most people, this kind of kind of exotic, you know, they will never
use this, obviously, right? So most people use the first
five, I showed you, right? And which is definitely a
good deal already, right? So, have fun with
these things, alright?
41. Simple Steps for Better Mixing: The way to achieve
a very clean mix, even before going to
the mastering step is to surprisingly
enough, have fun. It means that you need to
compose your song as much as possible in a way that makes you feel the emotion
of the song. If you feel that,
we are going in the right direction
already mix wise, right? If you're not the
composer of the song, if you're simply
a mixed engineer, right, you simply received
the stems, right? This procedure can be
slightly harder, right? But in that case,
it's not your fault. Maybe the music is a little crappy, so it's near your fault. If the mix already, it's not standing that good.
That's the point, right? The point is that if
the music is fun, if it's catchy, this will make the mix already easier
in the first place. That's the point. The mixing is not going to do miracles.
That's the point, right? So the music needs to be interesting in the
first place, ideally. That said. Let's
suppose that you are also the composer
of your music. After you reach that
point where you kind of did some tweaks
already with a mixer, you know, here, maybe you
placed also an effect on the master to make everything a little more
interesting like this. Let's see that 50% of the
work at that point is done. You know, you may subconsciously
have done it, right? But there are a couple steps
that we need to integrate kind of make our remixes cleaner regardless of the
situation, right? So the first simple step is
to hi pass everything, right? By doing this, fundamentally, we will make all the
sound our tracks cleaner, which is very useful, alright? To fully understand the
reason behind this, go to the mastering
section of this course, and you will see exactly why we're going to
high pass everything. Let's proceed. So it doesn't matter if it's a bass or voice, we're gonna apply at least
20 herds of high pass. And, and maybe even
higher if we can. Alright, let's do it.
Let's go little in order. Let's go here from
the chops channel. Alright, so this is
just simply a voice. So we can probably high pass, this is already high
pass, so that's good. Alright, so there is
nothing to do about this. So it's ready high
pass? That's good. Alright. So let's
go to the next one. Okay, these are fundamentally
the same thing. Let's see. Alright. This
is already high pass. Next one. And we have the note. Let's see what this is doing. Alright. Yeah. Okay, curious. So we such enable a
nice high pass sphere. Alright. This is a
very high sound. All this stuff here
we don't need. You know, we can make the filter more extreme and high pass. Alright? Alright.
Yeah, you know, don't be scared as
this. Boo. Alright. Hey. Next channel, hi per port. Let's see this guy.
Alright, here. We don't need all this stuff, so hi, fast everything. Alright, let us. Ooh. Okay. Then let's go to the Harp report
channel. Let's see. Hey. Let's see. Yeah,
it is very high, so we can high pass. Maybe even 500 hertz. Yeah, no problem. No, no problem. Hey, maybe, around 500 should be fine. Alright. That's good. Then
let's go to bass guitar. This is the bass. Don't
you it more careful? Do you preserve the bass
Fucrits? So let's see. Alright, I already apply
the high pastor ido, so that's it. And heavy metal. Let's see here. Okay, 77. Maybe a little higher.
Maybe 100 hertz. Alright? Let's go to your drums. Alright. Okay, so let's
apply some high pass here. Let's be careful. Make it more extreme
in this case, 48. Alright. Just about
the frequencies below 60 hertz is they start to
be complete air pressure. So unless you play
these in a big system, they will simply be garbage to make your mixes more muddy.
That's the point, you know? So you can try to make
those frequencies mono. But the ideal world is people that listen from headphones should not have those
frequencies at all, you know, and instead,
people that listen from big speakers should have those frequencies
automatically, right? So one trade off is to simply high pass those not too high, so we keep those
a little bit like this. And yeah, that's it. Alright. Okay. Go to
the big box shops. Okay, this is pretty high. Caution, so we can go all the way here.
Alright, no problem. You change the slope. Okay. And, yeah, that's good. I think that we don't
have all the channels. Oh, yeah, let's high pass the master at this point, right? So let's go all the way
to the master, right? And let's make
sure that there is a nice high pass
also there here. So let's choose
24 DB per octave. So the thing about the slope
is that if it's too high, it will start to become problematic because it
becomes more resonant and it kind of influences
the whole amplitude of the whole channel by making
it clip earlier than normal. That's the point. 24 is
kind of a nice trade off between resonance
and Precision, because that way it will
kind of not cut off. Too many frequencies
that we do not want before the
cutoff frequencies. That's the point, right? Because the smoother it is, the earlier we start to decrease the amplitude
of the frequencies. That's the point,
right? So let's go with 24, and that's it. Okay. And yeah, let's keep it around let's keep
it around 30 hertz, alright? And, yeah, that's good. Let's place this before everything like
this, and that's it. Alright, so that's
the first simple step for cleaner mixes, okay? The second step is to DS all the annoying
frequencies, alright? So we go back to
every single channel, and we apply a slide ester, only if it's needed,
only if we hear annoying sounds on that
channel, right? Let's see. Okay, so this channel is kind of under control,
so we can skip. Okay. Okay, the chops
are kind of fine, so we can probably skip these. Instead, we do know that the snare of the drums
may be problematic. So let's hear the
snare for a second. Indeed, I enabled a diaster on the drums to keep the
snare under control. Let me show you. This is with the Diaster,
this is without. Yeah, it's gonna slide more annoying when they
hear the snare, right? Let's keeps it under
control, you know? Alright. So let's double check
the heavy metal channel. Okay, you can see, there is also a diaster here on
the heavy metal. Right? Similar issue. Similar resolution, you know? Maser doesn't really need it. Power pretty import, let's see. This is a very dark,
very distant sound, so we don't need to use stuff like this on
this type of sounds. So we kind of already
did the dasing on the channels that maybe a little more
problematic, you know? Usually, these are voices or heavily distorted channels or very bright drums pieces, okay? So let's do go
check the beatbox. Hops Hey. This is kind of under control, so maybe, you know,
kind of a tiny diaster. Why not here? Let's duplicate the settings that we have
already on the drums. So we simply steal a copy of diaster like
this with all the drag. And then we modify it here. You know, she's just slightly
tire band, should be fine. Change the the threshold, so it will start to work, you know, around here,
yeah, around here. Okay. That's usually the critical error, you
know, around three k, all the way up to seven
K, you know? Yeah. Alright. That works. That's it. That's it.
So the second step is to das everything, you know, when it's problematic. And as you can see, I have even one
diaster on the master, but it's probably a higher band. Let's see. Yeah,
let me show you. As you can see goes
from four K all the way to ten K. Maybe it's
go a little higher, you know, around here. Alright. Especially after a maximizer, you may have some additional frequencies here
that we don't need. So we can keep that
under control with the diaster straight on
the master, you know? It's not too aggressive. As you can see, it's not
working all the time, only when it's needed.
That's the point. And thanks to the automatic
threshold, we're fine. Okay. Third step for a cleaner
mix is to arrange the instruments in
different spots of your stereo field, right? Don't keep everything
at the center, right? So especially the only
things that ideally should remain at the center
are the very important stuff, like the ok, maybe the bass, and the voices, right,
the lead vocals. All the rest usually can be arranged where we want
in the stereo field, as long as it's balanced, right? It means that for every channel
that I put on the right, there should be at
least one more channel that I put on the left, right? So that way I can counterbalance the imbalance that I create. And indeed, that's what
is happening here. So I think you have
this harp channel on 28 on the right, right? They have another channel here. Harp report is on the
other side, right? -29. And then, same thing here. We have these two channels going 40 on the right and
40 on the left. That's the point, you know.
So as long as you keep this balanced you can
do what you want. You can do also extreme
pannings right, using especially that works pretty well with double takes. So you record the same thing
twice with your instrument, and then you pan one
on the very far, right, and one on
the very far left. And they will kind of
counterbalance each other. And they can kind of create an interesting stereo sensation, you know, and so
that's one thing. Then once all your instruments are already at that
point designed, creatively and arranged
in a stereo field, well, at that point, such you compress some stuff that is more important
than other things, right? So it means that we don't need all those hyperdynamics
on single instrument. Otherwise, some of those
things will be masked. You know, it means
that they will kind of be completely not audible because other things
that are louder than those that will cover
them, you know, right? So to keep certain things
more intelligible, we need to reduce
their dynamic range. And one classic way is to use a maximizer or some kind
of squasher, you know. So if you don't
have the squasher, you can install the OTT, which is a free, amazing plug. The same thing,
probably even better. And so just check the
plug in section of the scores so that you know
how to install this guy. And, yeah, so let me show you. As you can see there there is pretty much every
single instrument, at least is some kind
of maximization effect. You know, we have a
maximizer here, here. There's sometimes a
second compressor here, but this compressor is
for the side chain int. So this is more like for the pumping effect caused
by the drums, right? So the true loudness is gained mostly by the first
maximizer here, you know? So you can see this last to
80% with stock clipping, about 75% mix, right? And so yeah, so that's simply
a mix of these two things, you know, some side chain
plus some maximizer, right? And the side chain
compression allows you to make something a little more groovy a little
more rhythmic. But obviously, if
you use it too much, it risks putting down the instrument instead of making it more
intelligible, right? So always make sure
that it kind of makes sense for your
specific song, right? In case you decrease the
threshold with too much. Once your compressors
are set up in place, and your side chain
connections are set up, then what I would do would be to dedicate some time to the
fader regulation, right? So simply observe the peaks, the average area where each instrument is
moving around, you know, as you can see,
there's numbers going from minus infinite
to zero, right? And just such
regulate the fader of each track so they will kind of sound ready in the
right area, right? As you can see,
we have the drums slightly higher than
everything else, right? Then we have the chops of the voice here are kind of
in the background like this. Then we have some melody
instruments here, slightly higher than the voice, but still lower than the drums. So it means that once you make hierarchies when you
make mixing. That's it. It's all about hierarchies.
Alright? Yeah, yeah, let's play also the
second part of the song. Go in the louder part
here. Alright, let's go. Okay, let's see what's
happening in this part. Alright. So as you can see, we have two instruments
that make bass, right? We have the heavy
metal, which is a supportive instrument for the actual bass guitar,
which is here, right? It means that the
true bass amplitude is the sum of these
plus this, right? So that's why it's kind
of slightly lower. The drums are slightly
higher than anything else, in this case, as you
can see, the are kind of standing around
minus six, right? And we have the MLD instruments
that are slightly lower, kind of went into
the background, kind of around -18, right? But they are two instruments, so that's why the actual perceived amplity is
slightly higher, right? And the chops, this section
of the song became higher. As you can see it's kind of
slightly way higher, right? Almost touching
minus six sometimes. Which is very close to the
drums amplitude, right? Kind of kind of fighting
against the bass a little bit, you know, kind of, they're kind of around the same amplitude as
you can see, right? So that way, they will
kind of merge together. But sometimes they will
kind of go a little higher. So they will stay intelligible,
but not too much. So this is because in my case, I wanted this to stay a little more merged with
the instrumental. But if I wanted, I
could just blast this, maybe plus three or plus six compared to this
number, maybe -18, -12, let's see.
See what happens? As soon as I play this plus
kind of six DBs higher, already, they go a little more to the foreground
of the song, right? That's the point.
But in this case, I kind of thought it was better to keep those slightly under, you know, slightly behind. That's clear enough. So the sage way is to make priorities and make
hierarchies, right? So there's never gonna be a super focused situation for every single
instrument, you know, unless you do a super you dedicate hundreds of hours
to make automation faders. But the sweet thing is
that eventually when there are the truth is that when there are multiple instruments playing
at the same time, you have fighting frequencies. They are going to fight
against each other, right? So you should
choose which one of those instruments
is going to be a little more important
than others, right? Otherwise, if you
leave everything flat, they're going to simply
mix each other and produce a very muddy
mixing, right? That said. Let me give you a final
tip it is a little more advanced to make your
mixes cleaner, alright? Which is dynamic EQ, alright? So once you have determined what is your main instrument
of your track, for example, in this
case, the voice. Okay, let's see. When
the voice is playing, you can see it's fighting
against the drums and many other things
for the bass, right? So why not cutting a
hole on the frequencies that make space for the voice only when the
voice is singing, right? To do this technique when
you use a dynamic EQ, right? So this depends
on what you have. So, ideally, bass plugin
that does this very easy as a job is a plugin
called Trackspacer by wave, which is not a free
plug in, unfortunately. If you don't have track spacer, you can use this plug in
here called frequency, which is a good
alternative in case, so you can set up a
dynamic EQ like this. If you don't have
this, you can use instead multiband compressor. Let show you like this. Okay. And so then, well, if you don't have
even this, I mean, just go to the website that
I showed you in the plug in section and find a nice
multiband compressor, so at least you can
compress only one area of the instrument when another more important
instrument is playing. Alright? So let's suppose that we don't have paid plugins, right, so we can simply use
something that base gives us. Okay, so to do this, we need to apply it on the
less important instrument. Let's go to the drums for
a second here, right? And let's apply this
after everything. Here. Alright. And we search multiband compressor.
Like this. Okay? So for this, we know that we're gonna make space
for the voices, right? So we bypass all the other bands except the one in
the middle, alright? And we prepare the band to
work around, let's say, five K all the way down to maybe 1.5 K,
right around here. Alright? So the
core of the voice, the mid precuts, alright? And okay, after you
have regulated this, we enable the side
chain like this. And we tell it,
Okay, you know what? Receive the signal
from the voice, which is, in this case,
called chops C. Let me shock. Yes. So is the channel called Shops Cues go here. Shops tube. Oh, okay, interesting. I
cannot assign it because probably the doves are already sending something
to the voice, right? So to avoid a
feedback loop issue, we're not able to
do that right now. Okay. In these cases, you can solve that
issue by making the duplicate of
the chops channel. So we go back to the
timeline for a second. So we make a safety
copy like this. Alright, so I just duplicate
it this track, okay? And we actually make sure that this track doesn't go anywhere. So we simply go all the way down here to the direct
routing of the chop. It's called this Chops
site chainer, alright? Okay. So then we go to the
direct routing of this track, and with this sable, it's
out like this. So no bus. Alright. Right now,
fundamentally, this is doing exactly the
same thing as the chops, but it is free to be used
as a side chain, right? Because now it's not
receiving any signal anymore. That's what happens when
you make a duplicate. It will kind of unchain all
the side chains, you know? Alright, so it means also
it's not by accident, even if you leave it
playing, it will not double the volume because it's not
going anywhere, you know? So you will see
the mirter moving. By eyes, it's actually not
audible right now, you know? It's simply a signal
available to use, right? So it means now we can
simply go back to the drums. And if you go to the
multiband compressor now, we should be able to connect
it to the side chainer. Let's sing. Whoo. Here is, you know, so just
connect it, and that's it. So that's the tricks
you ride that issue. Make sure that it's pre fader. And so, yeah, so we're
ready. Let's sing. It's ready working? Now, let's tweak
this guy, you know? Let's make the the
attack str lower. I actually a little lower. A right here tack
a little harder and let's make the
release 100 milliseconds. Alright. Alright.
What about that? So what is happening
right now is that the drums are being compressed
only in these frequencies, only when the voice needs it. So we make fundamentally
the voice more intelligible as a consequence.
That's the point. Alright? That's it. That's it.
Alright? That's it. And as you can see,
the drums remain pretty much fine, right? Because that
spectrum in the end, what matters is the
sum of everything. It's not hearing the
sound one by one. It's the total, that
makes sense, right? And as you can see the voice
now has a little more space. It's just the same to the
bass now. What about that? So, we go we simply
go back to the mixer. And, transfer Js plays the base close to
the grooms, right? Alright, simply
duplicate like this. Boom. And then make
sure that you reconnect with this guy side chainer
and we're back in business. Whoo. Alright? So
now the base has been compressed the prixes
are important for the voice. That's it. Move. A? And yeah. The funny thing
is, this will also subconsciously make
everything slightly more groovy because we have
these micro pumpings happening into the spectrum of some of these
instruments, right? Just using these simple thefts, and I can grant you that
every single mix is going to become a little
cleaner and better, right? That's the point.
And then just repeat until these things
become second nature. Alright, have fun.
42. Full Mastering Workflow & More: And u Mastering is a finalization process
that usually happens after the track is fully
mixed in your song, is fundamentally
ready to go, okay? So this is a process that
includes increasing the volume, sometimes, increasing the
clarity of your song, and then meeting sometimes
certain standards for the desired main
output platform, right, which can be spotify in case of music or streaming platform, right it's going if it's a film, it's going to Netflix, right? So there are many cases
and many standards. But the common thing
is that mastering is the final maximization of
the clarity of the song. That's it. So it's not necessarily increasing
the volume, alright? And, yeah. So right now, we have simply this song here. We have nothing in the
Master, as you can see here. And if your computer struggles applying effects on
the master and chain, just export your entire song
first as a single file, and then reimport it
back into a que base. And yeah, and then simply
work on a single track. Remember to disable
everything else, maybe delete all the
tracks at that point, make a separate version
of the project. And at that point, you're going to have a super
light project, right? In this case, I
don't need to do it. So I will simply leave the original arrangement
as it is here on the left, and we're going to work on
the master here, right? So let's see what is
happening so far. Alright, I was gonna
see, it's not too bad, but there's nothing
in the masterd. Simply the original arrangement as I intended when I
composed, you know? So there are maybe some
tiny mistakes that some people do that normally
we all do when we compose. Maybe we increase the base
frequency is a little too much or the high frequency
is a little too much, right? So we need to kind of control the frequencies a little
more and the loudness in a specific way so we
prepare the track for final upload to share with
people. That's the point. Alright? So let's see how we can achieve that in a not
too complicated way. Spoil alert, some of the effects that I'm
going to show you you may not have if you don't
have at least based artist, but I will show you a freeware alternative
every time I show you one of those
effects, alright? Alright, so, the first
thing that we need to do is to create some headroom. So right now, so you can see
the volume so high that it's kind of going above zero the whole time,
which is not good. So let's actually reduce the
volume minus six, alright? Okay. You can also
achieve pretty much the same thing by
also going to the E of the channel and
reduce the pre gain. Do it here. So we
go here minus six. Alright, and that way, we don't need to also reduce
the fader for now. Alright. Alright. This is not enough. Rue it
even more, maybe minus nine. Alright. You're gonna gain
loudness in a different way, not just by simply increasing the fader. That's
the point. Okay? So the first step for good
mastering is to remove a very technical issue
called DC offset. So what the hell does that mean? It means direct current offset. So, fundamentally,
when you make music, you may use convolution
reverbs or voc holders or whatever special
spectral manipulation in your effects in your songs. And without realizing,
fundamentally, your waveforms may
be shifted above their actual allowed
representation range, okay? And what happens is that your
waveform kind of distorts before is supposed to
do, normally, you know? So as you can see, just forgive my drawing ability. As we know at this
point, we know that every waveform goes between
minus one and plus one, you know, that's our allowed
range of amplitude, right? And there's a zero point where the waveform is
completely relaxed, right? So this is just a
ideal waveform that is perfectly inside the
normal range, right? But what happens is after
you complete your song, you apply many effects, some of those may accidentally offset your entire
waveforms like this. Outside of the actual range, you know, of the normal range. I means that your
waveform actually, in theory, should be right, should be fine inside
the normal range. But because of some of
these particular effects, your waveform may be
shifted down like this or up and what happens is that when it goes above
those darted lines, it will start to distort, where in reality, maybe
your waveform is fine. It's just because of this offset that got applied by
accident, alright? Avoid this issue, in
theory, there is a tool in Q base that kind of
tries to recognize this issue automatically
and shifts your waveform simply by applying kind of
by negative force, you know, pushes back
the waveform and range. But the issue with
that is that sometimes the offset is not static,
it's dynamic, right? So there are different
ranges of the song where maybe the shift is
negative like this. But the other parts
of the song goes back normal and then
goes all the way up. The true way it should
dynamically keep the waveform in the normal range
is to simply apply a high pass filter at the
lowest frequency as possible. You know, ideally should
be zero hertz or 1 hertz, but we don't have that low of
a filter, alright normally. So we need to apply simply a classic 20 hertz high pass
filter, and that's fine. It's going to bring our waveform back in the range that
makes sense, alright? So we simply go here and
apply a nice studio EQ. Alright. Just like this. Boom. And yeah, just enable
a nice high pass cut. Keep it as low as
possible. J hertz. And, yeah, that's it. Yeah, so that's the only thing you
should remember. Yeah. So first step for a good
mastering, keep for safety, a nice high pass floterT
hertz, and that's it. Alright. And, yeah. So and also, you know what?
Let's enable auto. So what kind of
compensate the increase, the slight increase in
volume that this may accidentally create
already? And, yeah. So this is also a lesson for your offset for each
single track, right? So if you develop the
habit of applying by default a high pass filter, this frequency on
every single track, regardless of what you do, this will already bring you to a way cleaner master
situation here. So you may even have a
super low DC offset or zero DC offset by the time you arrive in
the mastering stage. You can apply it
easily from here, from the E, like this, you know, just by default. As you can see have one, so you can apply a simple high
fast like this, you know? Boom. And keep the
slope 24 dB per octave. That's kind of a sweet spot
to avoid sacrificing by accident low
frequencies that may be precious for some of
the sounds, alright? And, yeah, that's it. That's it. So that's the first
lesson, DC offset. The second good step for a
good mastering is to make your signal go through a bank
preamp simulation, alright? The preamp fundamentally is a analog processor doload to
achieve a higher clarity in the higher and lower
frequencies of your sound in a more natural way compared to simply increasing those frequencies with a
static equalizer, you know? So we can add also
some saturation. We can create some harmonics in your spectrum by using this
analog simulation, you know? So we also add some
controlled distortion on purpose in those frequencies.
You need to do that. If you have based artist or off, you can use Magneto. So you are here. And
just apply Magneto. Alright? And this is
a tape simulation. There are two major
types of simulations. There's tape, which usually sounds slightly
harsher, let's say, and tube or valve simulation,
which usually instead, sounds slightly more warm with slightly less higher
for on D, alright? But in this case,
for simplicity, let's go with tape, okay? And, yeah, so this is pretty
easy to use very powerful. So you can simply play enable the saturation module and increase the percentage
here, alright? Slowly. Now there's zero. I'm sure what happens if I
increase it slowly. All right. Radio you see that the
loudness is also increasing. Increase now dual mode. We're gonna use
two tapes at once. Alright? Also, let's increase the high frequencies adjust. All right. The low
frequencies range. Let's go lower around 200
And a little higher here. Okay. All right. Let me show you with
and without, right? So this is see how
empty becomes. Straight width. Wow. Alright. Alright. That's the point. So use
saturation using a bank preamp, so you start to increase
the loudness and clarity at the same time in the
most natural way. Alright? This
really We're nearly not using still any
dynamic compression. It's simply a analog simulation,
which is pretty cool. And yeah, if you don't have
magneto for some reason, you can use a
freeware alternative using this nice plugin. It's called This Dx, and you can install
it from here. I'm going to send you
a link right now. And yeah, let me send you
let me show you here. You research this dock here. And, yeah, it's a
preamp simulation. You can see with
this, we have instead many types of simulations. We have tubes, as
I just told you, which are going to be a
little warmer compared to the tape and rational, which are slightly brighter, right, but not as
bright as the tape. Alright, so let's see
This is very easy to use. You simply increase
slightly the input gain. Such a trigger some saturation. Show you? Obviously, no
blast that you watch, right? B plus five plus six. Then choose the model. Increase the output
gain, as well. Wow. The cool thing about
this is that we have the mix, so we can control how
much. Right now it's 0%. Let me show you 100. Wow see how much starul
become more alive. Let me show you what
happens if I change the model. Try one of the tubes. See that the tube
is slightly more distorted and darker, right? So you can strategy can be to keep it 50%, for
example, that way, you can use a higher distortion, right on purpose, and then
reduce the mix, right? So it's a slightly
different approach, but it works, you know, so let's keep it
around six here, and let's use maybe
two number one or two. Right? Alright. Around 95%. Wow. Alright. Just decent, you know, so in case you don't have magneto, you
can go with this. No issues. These are simply
two, low pass and high pass. Don't patch these.
That's one way. Not too bad. It's not too bad. Let's keep in this case, let's go back to the Magneto. Let's remove this.
Alright. Alright. Now the moment that we
were all waiting for increasing brutally the
loudness of the song. But before we do that, we
need to become aware of the universal way to measure the loudness
of our material, which is using the
loves meters, right? So the loves meter
are fundamentally a meter that allows us to
measure with a single number. What is the objective loudness
of our material, right? So to do that, if
you have QBs Pro, you may simply use
the control room, which is this button here. Alright. And you should go straight to one
section called meters. And one of those is the
loudness meter. And that's it. That's how it looks like. It's simply a meter called LUFS, and we need to monitor
mainly this number here integrated and also
the short term one. These two are the
most important thing. She evaluate if our loudness
is too high or too low. That's it, you know? And, yeah. So then, if you
don't have QBs Pro, so let's suppose that
you don't have it. You can use simply a
free, amazing plugin. DP meter. That's a name. So we go here and instead of let's place it at the very end of the chain. So we should go. Let's apply here one
effect, DP meter. Alright, yeah, that's
how it looks like. Let's place it at the
very end of the chain. So we actually measure the very final stage
of the volume, right? So we simply right
click on the effect and then go to move to post
faders lot, alright? Like this, and it's gonna
jump back down here. In case you don't
have that feature, you can simply drag this
manually down down down, and I can grant you
that eventually it will jump to the
post faders lot. Let's see if that's
true. So let's go, so let's go.
Eventually, exactly. You will start to see
this dotted line, you need to push it below
that line like this boom. So that weight goes
after the fader. You know, it means that it's
going to measure the volume at its very last
stage, you know? So we need to place it here
in a safe place here, right? And let's also start
to apply a ceiling, a brick wall limiter, right? So the only reason
why I don't have a brick wall limiter
here is because I have it on the control room, which is a hidden section
of the mixer here. Where I usually have always
a safety brickwall limiter. So even though I
don't have a here and the volume goes above zero, I still don't here a
distorted outie, right? But if you don't have
the control room, if you have two base elements, for example, you can obviously apply a brickwall
imtter here, right? So you just apply Brickell, and just copy my settings, Mars copy my setting
exactly as they are here. And yeah, and that's
it. Alright, so at this point, let's
go back to the meter. First of all,
configure it, right? And then let's go here in this button and
choose factory and then change to Love's EBU R 128. Boom. That's the
most versatile way to use a love meter, alright? And, yeah, so then simply
make sure that you safe. This is a default
setting at this point. So we simply click on
this nice arrow here, safe as default preset. Yes. That way for now one, when you open this meter, it's gonna show exactly
already these settings, and it's ready to measure
the volume in the right way. Make sure that the meter
is even after the limiter. You know, it should be
at the very end, okay? So as you can see where the
value I told you about, integrated loudness and
short term loudness. These two things are the
most important thing. Third place, as important
is the true peak. Alright? We need
to, first of all, make sure that the true
peak doesn't go above zero. So let's see if that's
already under control. And maybe you are a
little confused right now because right now we have
the limiter set -0.2. So how the hell is
that possible that the true peak is measuring
above by 0.1, right? How the hell is that possible? This is supposed to be a
brickfll limiter, right, where the signal doesn't
go above that, right? So, the true peak will take account of the digital
to audio conversion, right, which is a
real life phenomenon. It looks like this. You know, suppose that this is our way you form
like this, right? So even though you're in the digital domain,
it's perfect. You know, it's inside the
allowed range perfectly, right? As you go into the as
you go into real life, when you play through
speakers or wherever, maybe the waveform,
if it's too close, to the limits, actually,
when you go to real life, it may actually exceed
slightly, you know, like this. In this area here, fundamentally is all distortion, you know, and this
is kind of called intersample clipping, you know? So to prevent this, we need to make sure
that our ceiling of our limiter takes
account of this. So that way, the true
peak is truly under zero. That's the point of
this. Okay? And as you can see, we are still safe. Maybe we can increase
this to 0.3. So we truly are on -0.2. Alright. Alright. In some
projects, it's not uncommon. She used two limiters at once, with two settings, right, one maybe a little smoother, a little slower and
the one very fast to truly catch all the
micro extra peaks. As you can see here, there's a setting for this
intersample clipping. But as you can see,
it's always good thing she would still have a
meter after the limiters, so we actually realize
if it's truly keeping the signal under that threshold that we set up here, right? Then let's go now to the loves. This number here goes from a negative number
toward positive, right? First of all, and so it means that the higher
this number is, the closer gets to zero, the more extreme the
loudness pressure is in the song, okay? So, usually the ideal range for good dynamics and
clarity at the same time is anywhere between -14 loves and all the way up to
minus eight for super rap, pop, commercial music, right? Sometimes, in some extreme
cases, maybe even higher. But that's usually the big range where all the music falls
down, too, you know? In case of film music, instead, where the
dynamics are way higher, you may have a way
lower love number, maybe -18, -21, -19,
it depends, right? So, but for music,
usually, that's the range. -14, all the way up to
minus eight, right? I wouldn't go higher
than that because otherwise it's
completely destroyed. You don't have you
have zero dynamics, so in this case,
in my experience, a good sweet spot for
music is around minus ten. You know, minus ten,
minus nine, -11, alright? So let's see our situation here. If you remember, we enabled
this button here, sync, which means that
every time we stop the playback in Quate
and we restart, it was gonna re measure these meters from
scratch, you know? Alright, right. So you
can see we're around -13. So it means that we can
go higher, alright? The difference between
integrated and short term loudness
measurement is that integrated will kind
of do the average of the whole signal from
start to finish, which means that it's the
most important measurement. You know, it's what counts
in the end, alright? But sometimes we don't
have the time to play the whole material from start to finish every
single time, right? So it's gonna take
a long time, right? Which is why watching the short term is very useful
because it's going to be a indicator the current loudness that we're hearing
exactly in that moment. Short term fundamentally
has a window of four to 10 seconds for
measurement, you know? And that's going to be already usually a very reliable way to understand the
actual loudness of that moment of
the song, right? Whereas this is going to measure the entire
song, you know? And so we're gonna
watch actually here the short term for
the most time, you see? You can see they
are very similar. But the short term is
gonna change more often because it's gonna measure
a shorter window of time. See what's happening? So even though the integrated
loudness is around -13, the short term in some
moments goes above. As you can see, we actually
reaching -12, right? Which is good.
Alright, right, right. Obviously, if you play the song repeatedly multiple times, the integrated loudness
may think that the song is kind
of longer, right? And that's why the
integrated may become higher and
higher, you know? What? Alright, so now we know that we're
actually touching minus two el for a split second and then goes down
to around -13. So it means that we can still bring up some volume, alright? Let's now go to the moment
that we all waited for. So we increase the
loudness brutally. So we go here, we're going to use some
compression, right? But let's combine some upward
with downward compression. And you're probably thinking
what I'm thinking, right? We're going to use the OTT to
do all that at once, right? So let's go here,
and we search OTT. That's one of the
most efficient way to bring up the loudnes, right? This is not the most
ideal way, in theory. This is not the most
clean way, right? But, you know, for most people, this solution is
enough, alright? The most important thing is that you understand
the principles, so then eventually you can split up these processes
to specific effects, you know? So that's the point. But the cok thing about this
is that it's very friendly, very accessible, and we can achieve what we
want anyway, right? So for mastering, we don't need to say 100%
here on the depth. Otherwise, it's gonna destroy
the material, you know? It's completely
destroyed, right? We're actually losing dynamics. See what is happening? So we don't need to be that extreme. So first of all, let's make the processor as
reactive as possible. So we decrease time like this. And then we decrease the
amount to maybe 40%. Alright, and then we actually decree the downward
compression around 50%. Alright, and a sect is actually increasing loudness
now, alright? Right now, act just
touch -11. That's good. Alright. And finally decrease the input gain maybe
minus by couple DBs. Ooh. Alright. First we make the processor slower. See what's happening here. All the meters are
moving a little slower. Which means that it's
gonna be less reactive. It depends on what you want. This case, I would like
to be very reactive, so it's give zero sound. Alright. Hey, let's see what
current loudest we have. You can see wet all
the way to -11. Sometimes it's even
minus ten. Woo. Alright. Not bad.
Not bad, not bad. And yeah, so that's already one takeaway. You can combine. If you have different
ferret precessors, yeah, you can simply combine
a downward compressor with a upward compressor. But the good thing about this is that it does both thing at once. We're all in one
place, and that's it, you know, and we still
have you can see, I like to keep the OTT flat,
but in theory, if you want, you can tweak the threshold of downward and
upward compressions, right? Individually, like this. In this case, I like
to keep it normal, so let's keep it around here
and that's it, alright? The next stage of a
good mastering is to keep the stereophoni
under control because sometimes our materials going to be played on small systems or small cheap one speaker
B tooth speakers, right? So a lot of the frequencies
are going to be lost if you don't compress the
stereophoni the right way. So to do that, we simply are going to use
a imager, right? If you don't have this
plug in, don't worry. In a couple of minutes I'm going to show you
how you achieve the same thing using a
free word plugin, right? So first of all, let's go
here and we search E major. Alright. So let's go with
the standard Seinberg one. Alright. Here. First of all, we're going to
control simply the lowest and highest frequencies. So we preserve the
original see opening of the two bands in between. Alright. And we're gonna operate
simply on this and this. Okay? So let's solo the low
frequencies first. Okay? Gonna fundamentally keep
all the frequencies under 250 hertz completely
monophonic. Alright? We don't need this weird
stereophony, right? That's gonna mess up the
whole phase of the system. So let's simply keep
it completely mono. Boom. Alright? That's it. Alright. As you can see
it doesn't ruin anything. Keeps the same.
That's it. Alright? Actually makes the
base frequencies kind of sound more straight, more in your face, right? So let's keep that that way. Instead, let's apply a
similar trade off to the highest
frequencies by simply not by simply shrinking
the three opening, not completely to 0%, but maybe 50%, you
know, like those. And then we choose
cutoff frequencies. So let's say let's
go around seven K, five K. I like it. Okay. So in the end, the imager
is a colliser, let's say. Fundamentally, this is
what the imager does. You know, it simply reduces the volume of those frequencies, specifically for the mid or the side signal of our main material.
You know, that's it. So that's what it's
doing in the end, you know? And, yeah. That overall makes our days more controlled
without sacrificing important frenc in the middle. Alright? All right. That's it. In case you feel anxious
about the actual signal, you can kind of find some kind of monitor like this using, you know, the
supervision here, right? You can go to the
correlation meter like this. But, you know, if you really
apply this simple guideline, I can grant you that this
is gonna be under control. Let's see. Alright. That's it. Alright. Crazy, right? Yeah, still sounds
very stereo, right? We're not sacrificing too
much to reopen it. That's it. That's the point.
That's the trick. Keep the base frequencies
completely mono. And the hyper high frequencies also slightly slightly tighter, you know, not you
open. That's it. Alright? And if you want
to achieve the same thing, using a free plugin in case
you don't have the imager, you can use this plug in here called Arc one. So
just install it. I'm gonna send you the
link right now Aarcs one. Alright, this one,
and let's open it. So to do the same so this
does the same exact thing. We have four bands,
as you can see one. So that's the band number four. Band number three, Band number
two and number one, right? So you can simply
choose the ranges. So let's set this
up the same way. I was using the images. So around 50 hertz, we're going to make these
frequencies complete modal. And then all the frequencies
from about six K and up, also tire, you know, like this. Alright, everything with
stun doesn't matter. You know, here, you can
even doesn't matter. All these frequencies
are gonna be untouched. And you can solo the frequencies using
these four buttons, one, two, three, four,
you know, right? So now we're soloing this range. Solo the highs. A? Return all. And we're going to
enable the mono shrinking for the
base frequency, so we enable the
first button here, right? And that's it. When you enable this
button all straight, make that signal in that band completely mono
by default, and that's it. That's what we
want in this case. Alright. Whereas, in the bend
the number four, which is this one,
which I go to enable, you don't need to shrink
the stereophoni completely. Instead, when you recover, we should keep a 50%, right? So let's, in this case, use the recover to
50, and that's it. That's gonna shrink
simply the stereophoni but not completely. Alright? That's it.
Touch anything else? Now it's doing the same
thing as the imager. Alright? Alright.
That's it. Move. You apply a bank
preamplifier and also some effect that
applies a saturation, a soft clipping, for
example, the OTT, in the end also simulates some kind of analogue
processing, right? So we need to be careful from the harshness that we're
creating in our signal. So to keep that under control, maybe we can also add a tiny
dester after the imager. Here, here, we're going
to use a classic decor. Int. Place it around ten
K to 12 k. You know, that's usually a range
where this harshness, so called is will create. So let's keep it under
control with this range. Blast the reduction 100. Yens. That's it. Make
it very reactive. There some spots. You
see what's happening? Sometimes, keep that tiny
kiss under control, right? Oh, my place a diester in that range is usually a
good idea to deator, right? And so yeah, just copying
my statics, you know, so you can see nothing,
nothing crazy. Simply choose the right range
and make it very reactive, so it's not going to sacrifice
too much of your signal. And so that's it. Nobody
will notice, right? And after that, we
can finally apply maybe a tiny generic boost using the equalizer
of the channel. Like, those simply a tiny shelf starting from around k. Like, there's just a
couple maybe one DV, you know, very tiny, just
a little boost, you know? And also the base.
Sorry. You know? So the shelf is a type of curve that's kind of very smooth.
You know, that's the point. So it's gonna raise
progressively the frequencies in a smooth way from that spot and lower or higher,
like this, alright? This is gonna give us already some maybe half extra
DB in the loudness. Let's see, at which
point we are here. All right. Good point. We can increase the
diane on the snares. So we go to the
drums, and we apply a diaster specifically
on the drums, right? In case some extra his emerges
from one in your tracks, you can apply extra control
on those frequencies. Why not? That's the
advantage of having to steal the tracks here,
ready to go, right? That's right. See that
now. More control. Wow. That way, we can control the specific
snare related hiss, you know? Careful not to use a white band. Otherwise, you know,
too problematic. Alright, now see
it's more control. That's the point.
Alright. All right. Don't have the Steinberg deser. You can use a freeware one. I'm gonna send you
the link right now. It's called odds. Alright? So we simply disable the deser here and
let's use loads. Alright? Here. Way it works is you
simply decrease slowly with threshold, right? Let's put it around -12. As you can see, if
you put it too high, it will not such, right? So we need you to
decrease this always. Alright, see that I
start your trigger, find the trigger spot. Okay. Then make the
release slower. The enable soft. Finally,
enable band mode. Right? Yeah. That's it. You notice that
the lower the threshold, the more the constants will
be controlled on the right? The cool thing is that
we have a mixed control. Use very heavy setting and then simply put it lower than 100%. You can just skip it. Last sick. Don't use band
they will compress using a shelf equalizer
for no matter, you know, instead of a bell. Alright. That's good now. And yeah, that's the way you keep the consonance
under control. Alright, so let's see how much oveness we
have at this point. All right, right, right. Okay, that's good.
And so at this point, see how we can gain maybe around one more DB
of loudness, right? So one way, I don't want you to sacrifice
the peaks too much. So what about using a
upward compression, right? So, as I told you in the
dynamic processing section, one of the secret tools of
Huas is the envelope shaper. So if we go here and we
use the envelope shape, and we simply
increase the release. This is in the end, applying
a upward compression, which is a crazy thing that almost nobody notices.
So let's see. Notice a increase in loudness I say increase the
release here, right? Right now, it's not
doing anything. What crap will happen if
I increase the release? Wow, see what is happening. It's crazy, right? So maybe it's too much. Let's
go plus three. Ooh. Then you know what, let's increase the tax
maybe by half DB. I slower. 200 seconds. Yeah. Just a little bit. Alright. Yeah, that's it. That's one which you
gain loudness without sacrificing the peaks at
all. That's the point. So even though this
is not technically a straight compressor
of some sort, in the end, it still does that. You know, that's the truth. So you can use it in a creative
way doing this, alright? Finally, one of the
most amazing tricks that you can do on your truck is you place everything inside
a ambience all at once, so it will kind of conform
all your tracks and make them subtly a little more merged
in a cool way, alright? So to do that, we can use the most realistic reverb
that we have in this case, a convolution reverb, alright? So we use reverend if
you don't have it, you can use simply
room works like this. Use simply a short room
studio preset, right? So, in this case, we're gonna to reference because we have
them, alright, like this. And let's use a studio preset. Let's go with a studio. Let's use New York. And then's stay very
low, obviously. Otherwise, it's gonna be
completely destroyed. Right? We don't
want that, right? So let's just go
maybe around 9%. Ooh. Alright, yeah, on here. Look, this phonically
is a special trick. You add that tiny sauce
on top of your music. That's the point. Alright,
let's keep it around this. What we should be careful? This is using convolution, so it's gonna for sure, introduce some subtle
DC offset, right? So let's for safety
apply a additional DC off cancellation after this rep. So we go here, just all drag. And yeah, that's it. So
now, it's gonna be clean. Okay. And finally,
let me show you one more advanced way
to use the limiter. We can use two
limiters, actually. So we place one here before
the fader line, right? And one after. And the one before is going
to stay in auto mode. That's good with a release. So it's gonna figure out by
itself the speed necessary. Whereas the second limiter, gonna place it in manual
mode like this, alright? And make it as fast as possible. Alright? This is
gonna fundamentally make this limiter become extremely reactive
and it's gonna produce a so called
hard clipping, alright? So it's gonna immediately chop the signal as soon as
possible, you know? So this is just a
advanced trick you can prevent any additional
peaks that may, for some reason, go
through the first limiter. You know, that's the
principle behind this. Alright. And yeah, got change anything
else, and that's it. The loudness. Finally, the cool thing about placing a limiter after the post fader
line is that then, if you want simply
some extra loudness, now that our spectrum is completely processed
under control, we can simply use the fader the fader of the master
as a offset final line, you know, some kind of nudge control for the gain even more. So if you want more gain,
less gain, at this point, we can simply use the fader
control of the master, right? So, in this case, let's
suppose I want to go around half more DB. K me Chris this guy, you know? You know you can see since the limiter
is after the fader, it doesn't matter how
much I blast this. It will never go
above the limit. Alright. See what's happening, obviously, now it's too high,
right? So let's go down. Maybe maybe use some
extra DV, maybe one more. Alright. Yeah. Alright.
It's not too bad. Thank here it's just
a matter of taste, you know, that's mostly it. Let's see it? Now, now
now that we're happy with how it sounds and also technically on a
technical levels correct, let's see how it sounds
without all the stuff, right? Completely completely
empty, right? See W. That's what I commendation. We start to dance, you know, vibe the music at that point. Enjoy it because in the end, music is enjoyment, right? So yeah, so at that point, start you play this in
real life on speakers, while use big speakers,
small speakers. The JBL, Bluetooth speakers
are a very good test. You try the phone, try the car. Just really go in
real life you know, just plug your MP three player and try to see how it
sounds like, right? And usually should be good anywhere using these
tricks, right? But the truth is that there are some things that are
unpredictable, right? So you cannot
predict where people are going to play
this round, right? So just some standard test and just trust the process. You
know, that's the point. At that point, you're
ready for the export. So let's export
this night track. We simply go here with export. And that's where most
people do a mistake. Instead of simply exporting and then proceeding
with the upload, actually report the track back into the timeline to
re analyze it, right? And I'm going to explain
to you why very soon. The main reason is
that if you export to uncompressed format
like flag or wave yes, it's going to all the
parameters that we found out thanks to the meters
are going to be consistent. So it's going to
still be the ceiling is the true peak is
going to be the same, love is going to be
already the same, right? But the truth is that online services compress
our files, right? Unless you upload to title, right, which is kind
of a niche community. Most people are going
to listen to your song from Spotify and YouTube, which use MP three
and AAC formats, right, which are compressed
audio formats, right? This is something that
cannot be avoided. So we need to be prepared
for that, right? And that is going
to fundamentally screw up slightly our stats. To double check how
our file is going to be after a lossy compression, we need to simulate
that on purpose, right? So one technique is to
compress it on purpose. So we go here, use, for example, MP three and uncheck
high quality, and then change bit rate to 128, which most likely people
are going to listen this too on the
platforms like this. And keep the sample rate
the same as your track. Most likely it's going to
be 44 k. So let's see. Exactly 44. Alright,
that's good. And yeah, and then simply
check create AudioTrack here. Alright? So it's gonna
automatically reimport the file. Let's call this file, indeed, final check, right? Make sure that you
check. You only export the master, right? And, yeah, that's
export and export. A couple of seconds. So now, here is our master,
alright? Okay. First of all, before
even playing, let me just make you aware of a nice feature called
offline Analysis. So so far, we used a
live analysis tool.
43. Markers: Markers are a powerful
way to take notes on your projects or to move very fast on your projects. You know, you can
go back and forth. They're very different spots of your time value very
easily, thank you those. Or, finally, those
can be very useful to export specific chops
to your song in bulk. You know, that way, you don't
need to do too manual work when you need to
export different chops to your song, alright? So let's see these
three uses one by one. First of all, we need to create a marker track on this song, so right click
here. Marker track. Here, okay? And depending on which version of Q base or nuendo you have, you may be able to create only one or multiple
marker tracks. But for most people,
one is enough, right? So let's put it top. And there are two
types of marker. If you click on any
spots of the timeline, it will simply create
a standard marker, which is a kind of single
spot in the timeline. We see what's happening
so I can move around. And as you can see, will follow the snapping rules that I have, so I can change the
snapping and it will also now snap per beat, right? It's really like a event, you know, like a media
event or a audio event. I can move where I want,
and then I can change its content by going
here to the description. In case you don't
see this window, you can press Control I,
and it will show that. So you go here and you
call this, for example, remember to add a detail here. You can take notes in your
project like this, right? Or you can take notes about the sections of the
song wherever you want. The second type of marker
is the range marker, which is created
by simply holding control and drag
and then release. Boom, alright? And that's
how it looked like. And again, you can move
around, same thing, like the normal and obviously, you can the advantage of this
is that you have points. So you have the in
point and the outpoint. So you can snap it exactly so that it covers a specific
range of your song like this. And then you can duplicate
markers very easily. You can simply do it like
this, duplicate or old drag. Literally, the same thing
as if it was a event like a audio track or a
midi track, you know? And, yeah, you can also
move these in bulk, like this, you can
do what we want. And then change the comments for every one of these
like this, you know, section one, et cetera, et cetera, you know,
you rename these. You can also open
a full menu that displays all those
by pressing Control. So you can kind of see the
full information of those. And as you play the song,
you will kind of see a little arrow that
shows where we are at. For example, if you go here,
see what is happening. Now we're here, then it goes
to the next one, right? X et cetera, you know? So this is a very powerful
way to take notes or to jump in different
parts of the song. So according to which
shortcut you have set up, you may be able to jump very
easily marker by marker. So in my case, I
have set this up, so when I press Control, one or two, I can simply jump to the next marker
or the previous one. In case this shortcut
doesn't work on your side, double check it by
going here, edit. Go all the way down,
go to key commands, and just show a search
next the marker like this, so you can consult which
shortcut you have. You can change it where
we want. Alright. And, yeah, that's it. You can delete
these at any time. And I didn't tell
you the advantage. We need a bulk on a marker
that a normal marker, it will simply move
the cursor there. But when you double
click a range marker, it will actually
select that area. Let me show you.
Boom. Oof have it. That way, we can simply
go to the render. You know, we can render straight that area in case, right? And finally, let me show you the amazing feature
of the markers. L suppose they
want you to export 1 bar of this song
independently, right? So one way to do that is use a cycle marker that is
exactly 1 bar long. So we place this here. Okay? We make sure that it's
only 1 bar long, right? And then we simply
duplicate this guy. Right? Separate Control D until we have 16
of these, right? And then you simply need
you go to the export menu. Okay. And we make
some space for you. If you see here on
the lower right, we have a nice
section dedicated to the markers, export
ranges. Alright. So we simply use
cycle markers, right. And make sure that you enable all the cycle markers
that you need. In this case, all 16. So we enable all of
these selectors. And, and then we simply we can choose a naming rule in case
you differentiate these. So we can say this, for example, section Okay, or we can
simply add a number. As you can see the
name of advance will automatically use this
name that you use here, plus the number of
the marker, right? So, make sure that maybe you rename these
correctly, right, so make sure that
the numbers are not mixed up in case you want to place these in a specific way in a
different software, right? And also, you can change
the naming scheme by clicking this
nice gear button. And you can customize
exactly how the files will
automatically be renamed. And yeah, and then when
you're ready, simply export. Wait a couple seconds.
And see what's happening? Now is exporting one range
independently, one at a time. So it's doing 16
exports. And that's it. How great is that? And, yeah. So let's wait the finishes. When the export is done, you will see all your files here named with a
progressive number. So you can place these in a sequencer on a
separate software, for example, where we want. So enjoy the markers.
44. Find the BPM of a Song: Hello. One very powerful
method to calculate the BPM of a song is to
drag in the full song, first of all, so let's do it. Alright. And as you
can see right now, the BPM is completely wrong
143 against this BPM. Let's just listen to
the song for a second. Alright. I just increase the volume so we can hear also
the click better, alright? Alright. My live is fiction. Okay, I'm stilling
tea right now. That's friends
with my addiction. It's completely wrong, okay? No blaming it on my condition. So the first step
to do this is to go exactly where the
bar starts, alright? So let's go here in the intro. Me let's skip the
first part here. Let's go where the
singer starts, as well. If my live is friction. Okay, let's turn off
the click for a second. Okay, so you can
notice one thing. You see these little
lines, the dotted lines. These are called
transients or hit points. So these are fundamentally significant changes
of volume that are detected automatically
when you drag in audio file in
Keybase, alright? So there is a way to automatically go to
each one of those. So in this case, I have
a shortcut Shift V, I go to the previous transient. If I press Shift B, go to the next one, right? So I can jump very
easily to exactly where the bar is
going to start on. You know, if this shortcut
doesn't work on your side, remember that you can simply
assign it, go here, edit. Key commands. And so be
search next. Hit point. Alright. And yeah, just set one srogut for
that and then also obviously search
previous Hit Point and set up these two
shortcuts in your case. And yeah, and then you can
do exactly what I'm doing. Then, make sure that you change the snapping mode to
advance plus cursor. Alright? Okay, that way, we can exactly chop. You
see what is happening? Where the transient is. So let's first find the beginning of a
bar, which is the one. You know, one, two, three, four. We're gonna find
the first beat of the first significant bar
of this song. Let's go. If my live is
fiction? Oh, right. You see here, it's
probably this one here. If my live is fiction. This one here. Yeah. Let's go. See? You see that the
cake in fact, is there. Right? So we go there
and simply chop. Boom. Alright? So that's it's gonna be our beginning
for this method to work. A Alright. So now we simply snap this at
the beginning of the song. So just cut it and jump at
the beginning and paste. Alright. K. That's
our first bar. Now, we simply count
exactly 8 bars, and we're gonna do a
second chop exactly where the bar
number nine starts. Alright? Let's count
the bars together. Let me increase the volume. A little bit.
Alright, let's see. One, two, three, four, one, two, three, four, one, two,
three, four, one, two, three, four, one,
two, three, four, one, two, three, four, one, two, three, four. One, two, three, four. Okay, that's the spot
where we need to cut. The bar number nine, start. So let's be careful
now here around here. Okay, here this
is the hit point. Alright? Let's just
carefully go there. Okay. You see exactly that spot. Boom. Alright. If
you want one way, you kind of scrub slowly through the when you
move the playhead. This, in theory, one way, which is, let me see. It's kind of a niche tool, but some people like it. Let me see if I
find it. Exactly. So if you press the number nine, on your keyboard, eventually, it's gonna show you scrub. So when you are on the
scrub tool, you can scrub. See what's happening so you
can scrub slowly as if you were maybe you like in a video
editor program, you know? Kind of controlling this through a vinyl, you know, solo see. Alright, so that's
a cool way you can find exactly the hit
point, you know. Alright. So we know that it's
100% this transient here, what we're talking about, right? So, right, so now we can go back to the normal
cursor by pressing one. And yeah, so let's go there with our shortcut Shift B and
OutClick and that's it. Now F now, we delete the
rest of the song, Backspace. And yeah, so let's zoom out. Alright, now we have
exactly 8 bars of song. That's the first step of
all of this, alright? So now, the second step
is you simply change slowly the PPM
with a wheel here. If you don't see
this floating bar, you can press upto Or you can kind of see the same thing
if you enable the lower bar, click this gear button here
and transport bar, alright? It kind of shows
you the same thing, but I kind of like you have
the max space as possible. So in my case, I like to simply call that bar only when I need it, you know,
so I press UT. And yeah, so now
we're going to simply move this BPM with a wheel and whoo. You
see what's happening? It's fundamentally keeping
the sample at the beginning. And it's not
stretching the sample. It's simply changing how stretched the
visualization of time is. You slowly change the BPM until the end of this sample
is exactly here, where number nine starts. So exactly here.
That's our target. Slowly move the BPM until the end of the sample
goes exactly there, where the number nine starts. Alright, so let's do
it. Go, go, go, go. Let's zoom in. Alright. We're
very close. Okay. Cheers. Okay, so Zoom looks right, but if you zoom enough, you may see that it's still
not perfect, alright? That's why that's probably
we need to simply change This is because probably our cut the spite was
mathematically snapped. It's not still 100%
perfect, you know? So one trick is to
simply change the BPM. The dish is after
the zero, right? Because if you go down by one, obviously, now it's
too much, right? Now it goes earlier than nine. So probably we need to
change maybe by 0.001. So let's try it out. So
we're gonna go here. And so let's go to
100.9. Alright? Okay, it's too much. So let's try 1,000.95. Alright, even more.
Let's try 99. Alright. Alright. And
so let's go even more, Line 95. Okay, maybe 92. So this is only if you
want to be really perfect. Alright, now there
is maybe okay, this is kind of acceptable
marginal error. So you can simply
chop track here. And now we can verify that it's accurate by simply looping this whole thing by pressing P. So right now, let's
just play these bars to verify if the click is back. The click is finally
in sync, alright? I'll synch I'll finally
make best friends. Whoo. You take ship. I get things done and not
blame it on my condition. Filled with contradictions
and build it up. So I think I want to
change the pot stop. Alright. Okay, now that we know
that it's perfect, we are ready to recover
the rest of the song. So make sure that you reenabled
the snapping mode, grid, and simply grab the
song from the end and the way drag it to the right until you have the rest
of the song, alright? Zoot. And, okay,
then be careful. Simply move the song forward. In case you need to recover
also at the beginning, simply reatend it like this. But remember that
the beginning of the song may be
slanty off, right? So for safety, you can either snap kind of chop it
also here for safety. That way, it will stay on time, even if you then move
it further from there, you know, and that's it. Now we can snap at
the beginning safely, and we are 100% sure that
it's going to be on time. Then verify if the BPM stays accurate for the
whole song, right? So let's verify basally jumping in different
parts of the song. Alright. Here it is perfect. It. Let's try forward.
Still perfect. Let go on a twist
the pot is time. Feel perfect. Let's
drive forward. Perfect. Go on and twist the
pot Steel perfect. Alright. Alright,
let's go forward. Okay? So your here
is still perfect. In sometimes some songs have particular counterpoints
with the rhythm, so they may start a
bar in a weird spot. So be careful about
eventually some BPM changes. That's the point. Most songs, usually,
especially in pop music, they follow a digital click that it's perfect and consistent
for the whole song, right? So, in cases like this, most likely you are done
already after this, you know? But in this particular song, there's a BPM change in
the last part, alright? So let's see how we can
deal with that, alright? Let's go first to
here that part. Listen carefully. Listen how the click
goes off time. Yeah. See what happened? Now it's off time. Mess up. Alright? So, how the hell do we deal
with a dynamic BPM, right? So, we need to automate
the BPM track. That's it. So first of all, we need you to
detect the last bar where the BPM will
still consistent. Alright? So it's around here. Probably here. Yeah. Alright, so we're
going to do a chop here. Yeah, here, there's some kind of ramp that's changing
the BPM, you know? Okay. Now, here, simply, we need to apply the same rule that we did for the
first part, right? We're going to detect
the first beat of the first bar at the new BPM. Okay? So let's do that. Let's zoom in. Okay,
here's. Alright. So this trends in here. Gone jump and cut, go back to abandoned cursor. Now, I'm going to go a little
faster because this point, we know how this works. So we go here,
abandcursor, chop alright. And then we're gonna
snap this for now on exactly at the
beginning of our songs. So let's make it clear
audio track. Alright. The reason why we need to
snap this at the beginning is because when we
change the BPM, it may also shift the beginning
position of the track, which is gonna mess up this
whole process, you know? So let's just solve this, right? And let's go this
second part. Okay? Let's see. Alright, let's
decrease the volume, maybe. Four, five, six, 79. Alright. Let's do a cut where the nine bar number
nine starts right. Let's see. Disable
snapping for now. Alright, here's the trends here. Boom. Alright. So
go back, shoot. Avanton cursor, snap,
boom, boom, boom, Aright. These are exactly
8 bars now, right? So yeah, now we're actually
gonna find the BPM. So let's go back. Before
we change this again, let's take note of the right BPM for the
first part, right? So we're gonna simply
copy this number. Maybe simply put
it here, alright. And now we can simply
mess up this again. Let's see. Let's search
for even number. Alright, so maybe we're gonna
now synchronize this first. So we're gonna make the end of this but we need to probably
make this faster exactly. Alright, see what is happening? Just watch this
second track here. We need to make sure that the end of this is on
the number nine, right? Same exact process. Alright, here's 160. Okay, 160 is the closest,
so let's go with this. Maybe 25. Alright, let's see. Okay, maybe a less 24. Boom. Uh, Okay, that's
ready too much, right? So t's w 125 maybe
24.5. Alright. It's kind of fun,
you know, because if the song is not too long, it will already be fine. You know, these are kind of
optional fine tuning steps, you know, if you
find the perfect BPM, that's the reality. But, you know, if you want to be perfect, that's one thing, you know, Okay, it's probably
24 or nine those points. Let's try. Exactly. Okay,
let's go down from there on. So let's try 248. All right. Okay, now
it seems very perfect. So we simply extend
the track from here. Let's very fine it's in sync. So we go back to your
grid here, and let's see. Let's count the clicks. Oh. That's it. We found it. One, cheap. Big p. Alright. Okay, okay. So we found the BPM
for the second part, which is this weird number here. So just copy and paste it
in the name of the track. Alright. And yeah, now we're gonna put
everything back together. That's the point. So we can at this point, lead this track. The second track is useless. Actually, let's maybe copy
the magic number first, right, and now we can delete it. Let's put this here in the name of the
first lane. Alright. And let's go back
to where we did the chop before starting
all this process. First of all, we restore the
BPM, the first BPM, right? But since the BPM
needs to be dynamic, we need to enable the
so called tempo track. Alright? Here is. Which is
simply this button here. When you enable this, you can change dynamically
the BPM. Alright? So we enable this and now we need to see the tempo
track on the timeline. So we simply right click here
and create a tempo track, which is down here
is tempo track. And yeah, and as you can see, it's simply a
automatable automation, you know, with simply
like points like this. But these are controlling
the actual BPM of the song, which
is crazy, right? So we're going to
play a first point exactly exactly here
at the beginning. So we just select down point here and we're going to
give it the first BPM. So let's go here, and we
just type the first number. So 100.992. Boom. Alright. That's it. And then we jump exactly
where we do the chop here, right, and just make sure that you place a
spot here, boom. Okay? So here is where the change of BPM is going to start, right? So, and now it starts to
restore the full song, so we reetended Okay. And let's go back where
we put the dot here, right, so we're here right now. Okay. And now let's
see what is happening. We're gonna play
simply a second dot around where the second part with the drumming
bay starts, right? Exactly in this strands
in here, right? So we just place a point here
with the right BPM, right? So we select the second point
and change the curve type to the ramp because
we don't want the PM to change instantly,
but gradually, alright? And give it the right number. So let's go here one sixty.248. And right, now's our nice ramp. And let's see what's happening. That's the point. So if you place if you place the point the dot exactly where the beginning of
the new BPM bar is, is gonna already be
in sync, you know, after you do this, after you do the new
value here, right? That's the point. And yeah, let me show you
what is happening. In this area, the BPM is gonna be slightly off time, right? That's the only thing
because we cannot pre we have no way to know exactly the exact ramp that they used in
their song, right? But it's kind of a
trade off, you know, the click is gonna be off time, just in this mini area.
That's it, you know. But then the rest is gonna
be perfect. In fact. Whoo, see what's happening? One, two, three, four,
five, seven, eight. So is it. Alright? Then simply
listen carefully. Double check goes off
time. Go to the end. Okay, Fam, around the end goes sly off time,
as you can see. And it goes a little
rushed, right? So, it means that when
you probably slow down slightly. So
let's do one thing. We place one more
point around yeah, simply from here,
what about that? You just keep that point. Simply at the end, here we go, we just place a new spot. She find you in
the BPM, you know? Alright, first time for
here, we place a new spot. Okay. And we're gonna push this transient here
slightly lower earlier, right, by simply
decreasing the BPM. So we select that point and make sure that it's
ramp mode, always. And probably means you go
to 160 like this example, that should be
sufficient, let's see. Alright. Yeah. Seems fixed. That's it. So what can I
do a micro correction, you know? That's it. That's it. And obviously, the previous part of the song is still
fine. Let me show you. Alright. That's it.
It's crazy, right? So, this is a very
cool technique that combines everything
at once, right? So you can use it for
classic BPM detection, but also for complex dynamic
BPM detection. Alright? Alright. That's it.
That's it. Okay? And sometimes there
are particular songs that are recorded
without a click. That's one of the
most complex cases possible because there is no
way to do this work here. You know, because
fundamentally every single bar and those type of
songs is dynamic, you know, for every
single beat, right? So in those extreme cases, maybe classical or jazz music
or metal music of the 90s, for example, you need to use a tool here, project
window here. Then jump all the way
down to tempo track. And then simply tempo detection. And here, there's
an amassing tool that will analyze automatically the track and correct the
BPM for every single beat. You know? This is a tool for extreme cases, as I told you, where the music is non
based on the click. And yeah, so let's just analyze. And in those cases,
it will simply correct. Oh, yeah, we issue. Okay, yeah, here is Woof
you see what's happening. Is correcting the BPM for every single beat,
which is crazy, now. So no, in theory, should
still sound on time. Yeah. It's great, right? So it would kind of sound
like this as if it was always a first bit of
Apple bar, you know? That's an extreme tool. Still, I'll let you be on time. That's the point, you know? See that it's perfectly on time. And I blame it on
my condition three, four, five, six, seven, eight, nine, ten, 11, 12. Right? Cf. Okay. And with this, you're back
on track, right? And these are kind of
advanced correction tools. You know, you kind of correct some off time fill ins that
the drums may do, right? So you can kind of correct
some drifts of BPM that may happen on top
of the issue of not having a fixed click
in the song, right? But this is kind of a
special case, in most cases, if the pop music, simply detect one BPM and
you're done, you know?
45. Granular Synthesis with Padshop: Pet Shop is a
granular synthesizer. So what the hell is
granular synthesis? Let me show you in
short, how it works. In theory, it's not really synthesis because in principle, it starts from a file
that has been recorded. So usually from
real life, right? So let's suppose that
we have a sound, the envelope of a sound that we recorded some peaks,
you know, that's then, granular synthesis
fundamentally is the gives you the ability to read some parts
of this sound file, you know, with a playhead
like this, right? This playhead has
a window of time. So you can read, for example, from this spot to
this spot, right? And you can loop the reading of this tiny window of time into that file back
and forth, right? And obviously, this can
go in two directions can go like this or can
go in reverse, right? So you're going to reverse the reading of that
file like this, right? And you can do so many things. You can change the pitch of this tiny window of reading, right? Or you can have
multiple playheads working simultaneously, right? So you can read
multiple parts of the same sample at the same time and each can have
independent paths going back and forth,
into the same file. So that's the principle
of granular synthesis, and these play heads are
gonna be called grains. Alright. So let's see how we can deploy all this in Q base. There's a fantastic
plugin called PAD Shop. Let's create a empty New
Track, select pad shop. If you don't have
QBse artist or pro, you may not have this feature, but you can still
follow this lesson to understand the principles of
granular synthesis, alright? Let's call this grain. Is how it looks like. You know, the way it works is
that you can use one of the presets or you can import. You can use one of the samples. That are provided
here by factory. Or, most importantly, you
can drag and drop one of the samples from your timeline straight into this
interface here. You know, f. So the
first step is to choose the sample that I
go to work with. Alright? So let me show you
the situation. Right now, we have
this song. Let's sing. Alright. Okay. So let me show
you how this is possible. So first of all, I recorded a raw recording on time
with a click, alright? So let's go to the
voice source track. Alright, let's see what we
have. Let's also mute it. Okay. So the first step was to simply make some drum
track like this. You cannot create the
first rhythm, right? So nothing crazy where you
all this stuff, right? Mm hmm. So this is the raw initial
recording, you know? Okay, so this was the
actual first recording that I did on top of the rhythm. Then as you can see, then I did some basic tweaks. You know, I removed
the background noise. I did some re tuning like this, right, you know, all that stuff. You know, we already saw it
in the previous sections. I use Very audio if
you have available, is a great thing cause
you can kind of tune the voice in a non
invasive way, you know? So kind of not too
crazy things, you know? Not too crazy, as
you can see, you saw just 30% repositioning
for the nodes. And yeah, so then
what I did was you chop this sample exactly
as long as 8 bars, right? And then I bounced it. Okay? So to bounce
it, in this case, I had to include the effects of retuning here and also
the denoising, okay? So to do that, I used the
render in place feature. So I selected the
eight bar event here, and then I went render in place. And then simply render settings where you
know this, right? So I made sure to include
the channel settings. That's what was the
most important thing. And then I simply
exported it and automatically went back
into the project and automatically muted and disabled the source track for the
voice, and that was it. Alright? Then I had
this sample here. Alright, ready we should
go. Let me show you. And then this is the one ready to be imported
into Pad shop, right? So doing this gave me the advantage of having
a clean recording while also having the recording natively on time
with A bar loop. That's the point, right? So if you do this
additional work, you're going to have
additional flexibility with the sample that
you actually use. Yeah, I just invoked a instrument track
with PAD shop here. And what it is, you simply
drag and drop this guy here, inch the effect here. Alright. So for this, you don't need to worry
about the format. It can also be flag, wave,
it will always work. Alright? Now, let me
show you how this works. It's kind of similar
to the sampler. So if you are familiar with the sampler section that we did, at this point, many of these
things can be familiar. So we drag in the sample here, and we can, first of all, play
it with a keyboard, right? So if I press these notes.
See what is happening. Let me disable all
these effects for now. Right. See what's happening? All those lines. Those are the ones I told you at the beginning.
Those are the grains. So, in short, there are multiple playheads that are reading different parts of
the sample at the same time. That's the principle
of granular synthesis, you know? And, yeah. So obviously, if I re tune everything according to the
note that you do, you know, if I do one octave up,
See what's happening? Alright? Let me bypass the automation
for now so I can tweak these parameters kind
of manually, right? So first of all, we can choose how many grains simultaneously, so we can go all the way
back to one in case. That obviously will
act simply like a sampler that plays
the sample, right? You know? Mmm. So nothing crazy. You
can also see, though, that even if I keep the
note first, it will end. It will kind of
not keep playing. The reason is because I've
set up max length per grain. So it means that I will
automatically fade out. And you can play
with these things simply by choosing
the length here. So if I increase this,
probably will last longer. Exactly, here is. Mm. Okay, that was the parameter. As you can see, if I
keep the length to 100%, I will keep playing
the whole sample, even if I keep the node pressed. You can see it's kind of playing the sample normally
right now, you know, except that it's not the envelope is kind of
different in a way, right? And that's caused by the reading envelope
of the grain itself, which is this nice
shape parameter here. So one of the smoothest
ones is called Gaussian. So if you go here,
you can select Gaussian or even hanging,
that's even smoother. And that will make it
smoother reading, you know? Mm hmm So pretty
much normal, right? So let's make the length
style lower than 90%, right? And let's start to
increase the grains, two. Alright, let's see. Okay. And then obviously,
you can choose how distant the chose grains
are gonna be, right? So you can you can determine that by choosing the
spread and the off that. Let me show you five
degrees spread, zero. Mm. Okay. Right now, the two samples are really on top of each other. That's why it's not noticeable. So let me increase
this to maybe 25. This depends strictly on
the length of the samples, so there are many factors. Okay, here's So right now almost sounds
like a delay, right? Similar to a delay
behavior, right? Wow. You know? Let's start to increase
the number grain to four. Mmm. Alright. See
what is happening. We start you have some
kind of echo effect, in a way, right? Yes, let's start to
increase the bread. Okay? Alright. This is a very typical granule
sensis effect, you know? So, so far, it's kind
of should be, like, a polished echo effect, right? What let's act make this
little more interesting by increasing the
random position. So if you do this, it
will make the grains. You will kind of give the
permission to the grains, you kind of jump in different spots of
their choice, you know? So they will kind of follow your main initial trigger point, but then they will start to jump around in the sample, right? Making more interesting
effects, let's see. Mmm. See what is happening? So they're kind of going
in that direction. What now they start
to feel more free to jump around in that
micro window, you know? You know, and you can also
notice that they also start to jump around in
the stereo field, as well. So that's a great thing, right? And let's see the offset. Alright? What about that? So let's go all the
way to aid ins. And let me show you one thing. As you can see here, we
have standard parameters like a DSR for the filter, one for the amplifier, right? So as you can see,
I've set this up to be as gated as possible. It means that as
soon as I release, the key is gonna
close immediately, all the samples, you know? You know? You can set
this up differently if you want to you. Alright. Let's make now the spread
a little tier, let's see. Obviously, you can change the start position of the
sample by moving this guy here. And you can test what it's gonna sound like by
simply clicking. Like this. Right? So
you can quickly test. Even though if you don't have
the keyboard, that's fine. You can simply click
different areas, and it's gonna immediately
give you a preview, you know? Like this, you know? This is where you can find
easily the interesting spots. So the position of this
playhead here can be controlled easily
by this guy here, the position prompter, right? So obviously, every single one of these knobs can
be automated, right? You can use the modulators or simply the manual automation from here, right? You can show. And yeah, what else? And then you can also randomize the amplitude of
every single grain. As you can see now,
there's 30% randomization. So it's not too
much. So that way, the volume stays overall,
more consistent. One of the most important
ones is also the speed. So if you decrease in speed, obviously, it's gonna
kind of stretch. It's gonna do some kind of hyper stretch effect, let's see. It's gonna do it four times
slower into the sample. Alright? It's gonna take a lot of time to play the whole thing. Oh, that's the fun part
of ginursynthesis. You can transform a
very short sample into a very long texture, right? That's the point. You know, that's the point.
That's the point. Let's see. So let me
show you the grade. If you reduce the duration. Let's see. Alright. See what is happening now
is we're kind of allowing each grade to play only ten
milliseconds at a time, fundamentally, you
know, you can increase the playback to up to
1 second per playback. Obviously, that was
going to give you a very smooth and slow texture. Or you can make
it more agitated, obviously, by
decreasing this number. Let's try 100 milliseconds. You know? So it's
gonna reset quicker. We can also go in revers
like this, right? So if you do -100%, it's gonna go it's gonna
go back, let's see. Right? Which can be very
interesting in of itself, right? And when it reaches the
beginning, obviously, it goes back on the other
side, like Tac Man, you know. That's it. That's it, you know? And obviously, there
is a module for affaX. So Let's select a
synthesizer again. So we can go there are LF Bs, so we can internally modulate these things right if you want. So we simply go here to Affax
and similarly to talog, we can apply some nice
reverb, for example. We go here. And yeah.
See what is happening? So let's make it super
long, for example, we crease the main time. Let's see. Make a
little brighter? What about that? Be loose? You know, that's the
point. That's why we pitched and denoise the sample before placing it here
because that way was kind of a bit max
quality possible. That's the trick. Just bring
back to the relationship 1,000 finish by making
a quick connection. What about assigning
the LFO number one to the spread, right? So we start from very close, like this. And
also the duration. We're gonna assign it to this
prompter here, you know? Let's see. Okay, maybe
that's too much. Let's go. Let's
choose a minimum. Okay, let's start from
20, and it's gonna go all the way up to 2000. So we're going assign the le
for one to these two things. So we go here, destination. This is the same to at
same method, method. So you go here, and yeah, so we're gonna
assign to spectral, spread Teres and increase
the value like this. Alright, and finally,
let's assign it to our Alright, here,
grain duration. Alright? Boom.
Okay, now increase, all the way to the
max. Let's see. Right? So that way, as you can see, there's a tiny section where start should be
a little more noisy. So let's make the
modulation, the LFOs lower. So maybe one half is too much. Let's go one fourth, like this. Alright, let's see. See what's happening?
So then now there's kind of whereet make
Turbulence, right. Almost like a wind that blows. Maybe it is too much, so let's choose a different
minimum value. Maybe let's choose
a higher minimum, maybe 100, maybe
60 milliseconds. Let's change the wave
form. Maybe choose something a little
more randomic. Let's try stamp on a hole, too. Let's try that. Okay,
let's try this one. Alright. So this will kind of randomize the values
a little more. So you can achieve
also creepy textures. You can do so many
things simply by playing with these tiny perimeters,
in the end, you know? It means that once the
main patch is set up, you can then change
significantly the vibe that you build up simply
with a couple LFOs, and that's it, you
know, and maybe some couple automations. Alright. So let's just finish this up by increasing
the minimum duration. I don't want this to be creepy. Alright, let's keep it this way. Poof. Alright,
right, right, right. Fair enough. And
yeah, so that's it. And then you're ready
to integrate this into your song by simply
using the medi signals. You know? That's it. That's it. So here in the
song, I was already using reverb to
reverb separately. So in this case, we can bypass the reverb within Pet Shop, so we can go here. This. And by the way,
remember that you can also create a second patch here, and then you can simply
cross over between the two patches simply with this slider,
which is crazy, right? So you can make piece that's
completely different and then cross fade between the
two dynamically, right? Finger effect is bypass
the exact lines, see? Alright. Let me just show
you name all the effects. We have some bit
crashing Maximization. Then we have a long reverb, a second long reverb. Right? Lay. And then probably a
side chain com pressure. Yeah, here's. Okay, so this is gonna receive the
signal from the drums. Alright, so I think that
we can for now it's bypass just's increase the minimum
length of the duration. Alright. Okay. Alright, so let's just listen what
is happening now. Right. So right now all the
automation is bypassed. Wow, it starts to be really
interesting that way, right? So if you're wondering how I'm achieving this gating effect
and saying with the drums, we are using a VCA, right? So this is one of
the cases where the VCA can be useful
because you can simply connect the
track that you want to get to a VCA, right? And then simply make automation
from the VCA instead, where you simply make
the VCA go from Z zero, two minus infinite,
right? That's it. And that will automatically
offset the target, regardless of what is its
actual initial value, right? That way, you still have
the freedom to tweak. Simply the actual initial
value, right, like this. So it's not locked
by any automation. That's the advantage. You know? That way, this acts like a
offset, you know? In fact, I call
this grains Gator. And yeah, so now we
have simply this thing here that is kind of
opening this rhythmically and sing with the
drums, you know? So I created this obviously
by making obviously only one, then I duplicated it, you know? And yes, at this point, let's go back to the grains, and we start to reenable we start to reenable
the automation, simply by pressing the R here. Alright. Boom. Okay.
So as you can see, I did some automation on some of the parameters
we talked about. These are all pad
shop parameters. You know, I'm simply increasing, decreasing the grain duration, position of the playhead, and the randomization amount for the position, and what else? Yeah, not much else. You know, these two things in the end
I didn't use fundamentally. I'm simply controlling
these from the volumes being controlled
by the CA, as we told. And yeah, so simply with
these three, four parameters, you can simply achieve
whatever we want already with the granular
synthesis, you know? And let's see what is
happening in the end. A Alright. Alright. That's it. You know, then it's
just a matter of taste. You know, you can simply
automate maybe the duration. You know, let's do this. So
we go here, show duration. I'm thinking about doing
this rhythmically. So let's go. Let's try. Yeah, what about making
this very close? Uh, for example like this. You know, so kind of them close. And then, boom, explode with
more spread out samples. When you do a variation and
you want to simply repeat the automation pattern
to the second part, you can either
select those points, you know, select only one, then press Shift left, like this. And then simply
select the prompter again like this and
then simply paste. Alright, so lily copy and paste. So we apply this new variation to the second part of the cycle. Yep, that's it. You don't really need
to know much more about all you need to know about granular senses,
you know, get started. The only additional
things is that, obviously, there are
older granulators. There are also real
time granulators that create even more
copies, not just eight. They can go up to 20, 30, right? So or there are other offline granulators where you can go over this limit. But it's not too bad. You know, it's kind of a controlled
granulator to get you started. And then you can simply
explore older plugins. They'll do the same thing
from now on, alright? If you want the final tip,
you can kind of achieve a pseudo granulation by combining multiple punk
punk delays, right? And if you not stack
multiple of these, and each one has a
very different time, maybe one has 1 second. The second one has
maybe half, you know, like this, or just
keep those like this, you know, kind of slanty off. And then use a modulator to change the sync
time dynamically. You start to realize
that you can really achieve granulation
even without pet shop, you know, so I invite
you to try that.
46. Sound Design 101: The trick to achieve a
very high quality and successful sound design
integration is to follow just a few but very
important principles, okay? First principle is
the accuracy of the proximity integration into
your environment, alright? When you do sound design, most likely you're dealing
with a video, follow method
should take account of where the sound is coming from and modify the frequencies according to that, you know? So let me show you. For
example, you have here, I'm going to now record
a quick sound as you. Go, go. It. We're gonna see the
real life properties of the sound as we play it. So let's see, we're gonna open
the spectrogram like this. Alright, so t's see what's
happening. Alright. Okay, so first of all, you can notice that
when I go with my head, 180 degrees, the high
frequencies get weakened, right? You see what's happening?
So, especially all this area becomes way weaker when I rotate my head all the way to the
other side, right? Then obviously the second thing that we can notice is that obviously the sound becomes
way more roomy, right? These are the things that we're going to take
account when we want to integrate a sound into a video
in a realistic way, right? So, it means that we
need to use we're gonna most likely have a
direct sound like this, and we need to
insert two effects, a nice reverb and a
filter. That's it. So we achieve it using a classic combination of
maybe simply a room works, and then a nice studio EQ. It goes, you know, Alright, so on the EQ, we're going to set up a cut filter like this. And we're gonna animate
the frequency like this. And here in the room works, it depends on which
ambient video is on. So if it's a big ambient use
a big preset ambient, right? Okay. And we're gonna animate the mix amount. That's
the point here. And then simply animate this according to what
happens in the video. You know, you keep these
to 0% for now, like this. So the filter is
completely open, you know? So just loop this part
here where I just play the sound direct,
you know, dry. Okay, so let's suppose that I
repeat this multiple times. So we repeat the same
sound twice, right? Right now, it's simply normal. Okay. So suppose that the
second time I play this sound, the capture in the
video rotates his head and goes away from the
center of the screen, right? So to simulate that, we need to make the sound
slightly more muffled, right? Because we lose the directional
high frequencies, right? That's what happens
in real life. So we simply start to make
it a lot more muffled, maybe around five K. Alright, you know, if on the sweet
spot, this depends. Alright, and at the same time, we need to make it a little
more roomy because it's going away from the center
of the camera, right? So, we need to emphasize that by making the sound
a little more roomy. Let's increase to maybe one. 40%. Alright. The size
of the room, smaller. Okay, that should be
enough let's see. Ooh. See what's happening? So maybe it's still
too much so I decrease the size more in time. Alright here is. See
what's happening? Now just listen
carefully to sound. Imagine the character going away from the camera. You know? Alright, let's go. Right? And then let's suppose that he goes back into
the camera, right? So we actually do a bounce
back animation. So we go here. Produce stuff most likely in enable event or
event plus cursor. So because usually sound
design is not based on music. It's actually a free time sync. So we can actually
change also here, the matrix seconds, right? So we see the raw
seconds, you know? Or maybe time code, you know, those are the two most
likely things that you need. And suppose that we just
go back like this, right? So that way it's gonna be
a perfect loop, you know? So we're at the center of the
camera, right? Full focus. Then we go away. And then we go back in the center.
See what's happening? That's it. That's it. You know? So, so that's it.
It's hole there. You know? So this principle
is extremely important. And finally, the third
thing is the panning. So suppose that the
character goes actually also on a specific side
of the screen, right? So we want you also give an indication of that using
the penning automation. So instead of keeping
the sound at the center, we're going to animate this guy. So we simply make the
parameter available down here, so we press Plus, and we add this nice
tanner left, right. Boom. Alright, so we're going
to animate this in sync, obviously with everything else. So this is going to
go, for example, to the left of the screen, and then back of the center. Here. Boom. Alright, I sing. Alright. Pooh. That's it. You see what is happening? Boom. You know? So
these three things are believe it or not, are enough to make any sound way more integrated into the screen. That's the point,
right? So to recap, reverb amount, panning,
and frequency. Yeah, so sometimes
you need to animate a high pass filter instead
of a low pass, right? So, in case you want this
sound to become way weaker, you can also make
this high pass, you know, that way, you know, but this is kind of
useful in case the sound gets goes inside some kind of radio or some kind of device, you know, that makes you lose the low frequencies
of the sound. And that way will sound like
instead of phone, you know? See what's happening? So in this case, we don't need this
because we're kind of staying into the room, and we kind of lose
the high frequencies, not the low frequencies,
you know, so this depends. The second major principle
that you should be aware of is the interchangeability
of sounds, okay? So, fundamentally, as long as your sound is in sync
with a visual part, and there's at least a
little bit of similarity in the texture with a sound
that people expect to hear, you can pretty much
use any sound to represent any visual part
that you desire, you know? So it means that
you can even use very counter intuitive sounds
to solve a visual part. You know? Let me give you a
demonstration of this, right? So for example, here a video
that we're going to import. So we go here, import video. All right, make sure that you import also the audio
from the video, right? And the booklk. Okay. And in case
you have errors, simply press Shift and press
G frame rate on video. Alright. Okay, so let's
see the situation. First of all, the book
click on the video, and let's see what is happening. Okay, so we're going to make
sound or the hand, okay? So let's see what is
going on. Let's go here. And so let's normalize
the audio, first of all. Okay, so the audio right now is just a reference, okay?
It doesn't matter. So, in theory, we can use a completely different sound to represent the
hand in this case, you know, it doesn't
matter. So uji do. We're gonna use we're
gonna record a track. Using a shaker, alright? We're gonna record this sound, and then we're gonna synchronize it with every single movement, then the hand dot, alright? So, ej dot, let's
go. Let's mute. Actually, let's keep this kind of lower volume, like this. Okay? Or actually, I'm gonna
use the listening feature. So we make it empty new
track. Or, you know what? Let's keep it here. Call
this simply as a fax. Yeah. We're gonna record
this simply here. Alright, and, yeah,
so so here is where you mostly saw this happening in behind the scenes of movies,
sound design, sessions. You're gonna simply study the performance that
you need to do with the item and then kind of try to record only
one shot, you know? So let's see the movements
that we need to do. Okay, so let's see. Okay, I think I messed
up the last one, let's see. Alright. You see what I
did? I was kind of fooling along the
video, you know, to actually in real
time, already pre synchronize pretty much
the gestures that we need. You know, that's it. So that's kind of one of the
most efficient solutions, you know, or in
case you don't have the physical item and you
have already a sample. Unfortunately, you
need to synchronize those manually to
each single point. Alright, so now, let's mute the reference
for now. Let's see. And now we actually
hear the situation. So let's see what
is happening. Ooh. I see what's happening?
So, that's the point. That's really what I'm
telling you, you know, if it's in sync already, 50% of the issues are solved. You know, then
it's just tweaking the way the sound is,
you know, so we go here. Let's see. Alright,
so first of all, we're going to kind of
tweak the sin, right? So let's separate these in
different mini vents, right? And we're going to kind
of tweak there some sounds that need to
be kind of behind or kind of moved by
a couple of frames. So let's change the
timing to go here, grid and change the grid to the grid role to time code
in frame LR one frame. Okay? So that way, we can move this with control
left and right, like by one frame
at a time, alright? Okay, let's sing. Okay, maybe we can start slightly later. Okay, here, the sound actually start around here,
so we can do this. Okay, Kans. We go slightly. Okay, here is where the
sound ends. Let's say. Maybe we can accelerate
the sound a little bit. What about that? So we can press one until we see the little clock on
the curse cursor, and then you can simply stretch
the sound to that spot, you know, acts. You
know, that's it. Okay. The first one
is done. Let's see. Okay, that's the gester. So here, move this i lactose. Remember that right now, we have the gradient
cursor mode enabled, so I can simply press
Alt or option if you have Mac and chop
exactly that spot. Okay, this pretty
much good? Yeah. Maybe the third one can
be real time study, so I can make a slight stretch. So to do that, I can either make a chop here
and then stretch this one, you know, or I can simply go inside this specific
sample we double click. Then we go into audio
wor and free worbR? Yeah, and then we're
going to simply stretch the sample, you know? So we go exactly
the spot where we need to apply the sample
the stretch from. So here, so we place the first spot exactly
here. So we click. And then we say, Okay, you know what
the movement starts actually slowly later. So we start to
stretch from here. And we make it start
slightly later. So we just do this, you
know? Alright, I'll see. You know, that's it. So you can kind of do
micro local stretches without destroying the
previous parts of the sample. That's the point, the damage
of this map upp, you know? And, yeah, so that's it. And then we return through the
normal cursor by pressing, again, one, and we
continue. So we're here. Let's see what's
happening out here. Okay, so this is
kind of a double. So we have the opening of
the hand so around here, just resink it like this. Bypass the stretching,
the snapping. Remember that we can just
simply press control, hold control, and we'll bypass the snapping even if
it's enabled here. Okay? Maybe we can simply Okay, we can anticipate this
moments sly so we stretch this like
this. Let's same. Okay, that's good. And finally, right, it's all the same. One. Okay, here's Alright,
maybe slightly later. Okay, let's just double
check every sink, you know. Alright. Alright. Okay. That's it. That's it. And right, so now we start
to denoise the whole thing. So it's really not too noisy, too noisy, but let's
suppose I was. So we simply go here and
we go to China strip, enable some nice gait. Let's place the pre effect, and then simply denoise it,
you know, what I'm saying? You know, Alright. That's it. Okay, so, yeah, now you just need to be
creative at this point. So simply maybe re
push the sound. You know, let's make
it a little higher. Okay. You can change the
grading to see how it sounds. For example, let's
change your drums. Okay? So it kind of sounds a
little more cliquy that way. Alright, and then start plays a nice reverb to make it sound a little more integrated
into the room, you know, so we raise up
the room amount, you know? It does, you know, Okay. All right. And then we can
keep the sound of the center. It's radio of the center. Alright. And let's reduce
the low frequencies. So we go here and raise
a nice high pass, you know, in the scene. You know? So it's
not too invasive. The amount of low frequencies
usually depends on the size of the element that you need to
sound design, right? So if it's in this
case, it's kind of a small item, it's
just a hand, right? So it kind of does
make sense that this little thing is emitting big, low frequencies, right? So that's why we remove all those frequencies below 500 hertz around that, you know? So that makes it a little
more smaller item. You know, that's the
point because it cannot physically emit
lower frequencies. Okay. And yeah, so, so just the tick way is as long
as the sound is in sync, and the properties of that
sound are kind of meeting at least partially
the expectations of the sound that you
imagine in your head, it means that that sound
can definitely be used. You know, that's the
point. So this principle is called interchangeability
of sound. Another very typical
example is, for example, if you have rain, right, rain doesn't need to be
literally represented by rain. It can also be represented by a frying pan of fries, right? Or maybe even by crackling
fire. You know, why not? So anything that it actually similar in its nature to the
sound that we want to represent with some
processing can become fine and can just create illusion
that it's rain, right? And that's why sound
design is so fun. The third principle of
successful sound design is the filler sounds, right? So those are all
the sounds that are surrounding your
main sounds, right? So those kind of create
the atmosphere you can make the whole thing a little more immersive
overall, right? For example, right
now, we have simply the protagonist sound,
which is our hand, but we also have a human
that is breathing, and we also have a
room that is silent. So why we need to have some kind of background noise
that is kind of static, you know, to make this
room a little more rsive. So to do that, you can
achieve it by recording, obviously a silent room or let's suppose that
we don't have it. We can achieve it simply by generating some noise,
in this case, you know? We can reuse the sound of the end camera recording if
you don't have time, right? So you can simply
loop a silent part. Of the audio recording of the
camera, like this, right? And then we're gonna
loop it. So we duplicate and cross fade
each copy like this. And, yeah, that's
already one solution. You know, when you don't
have time, you can use this technique simply,
you know, like this, make sure that the cross
fade is long enough, so it kind of becomes
unnoticable, you know? And we can call this room, cell, you know? Okay. You know, that's
the point. And then obviously tweak the volume, right? Maybe it's too high. So let's make the player
a little smaller. Alright. Let's see. You
know, just a little bit. You know? Immediately
immediately better, right? Because that way makes this feel as if it was actually
in the recording, you know, not placed afterwards. That's crazy, right? Okay?
Okay? And then obviously, you can use some equalizer. You know, maybe you
want to make space for the high frequencies of
our protagonist sound, so let's use a shell. Why not? You know? 'Cause
use some low frequencies. Yeah. You know, that's it. That's it. And also we can also add a breathing sound
for the person, right? In this case, I was kind of doing dacron sound
with my mouth. So obviously kind of defeat
the purpose of this. But I suppose I was simply static, you
know, with my mouth. So in that case, we can make
a second sound like this. So we can make a new channel. Let's simply duplicate
this one here, duplicate exactly and here. That way it's ready assigned, so we can simply make a
new channel like this, and, yeah, we can simply
record a breathing, you know? Maybe we need two sounds, one at the beginning
or one at the end, you know? Let's see. Se what's happening? Hey. Synchronize the second
one better, right? So that's the point. You know, use reinforcing sounds to make everything feel more integrated
into the environment. This is especially
useful when you need to rebuild everything
from scratch. Let's suppose that you have completely silent video, right? So remember you build the
background noise, as well. The fourth principle of sound
design is hyperrealism, which means that you can
layer multiple sounds to make a sound feel more powerful instead of sign than what it
actually is in real life. Alright? So to do that, let's import a new video where I simulate a gunshot.
So let's go here. Alright, let's see what situation
first of all, let's see. Yes. Alright, let's see
what we can do with this. Okay, so first of all, gunshots, for example, you can use a real, real sounds of guns, right? Or you could be completely you can use the principal
has just told you and use completely different
sounds as long as they are layered and satisfying
in the end, you know? So, for example, let's
use a Cook drum, alright? So we call a nice
Halon Sonic, right? We call this Cook. Yes, yeah, we're gonna enable a
nice cook drum kit. For example, there should be a preset exactly
called all kick drums. Let's go here, double click. Alright, so we have all the manageable kicks
that you may desire. And, so let's find
the right one. So let's increase the
volume of this track. Do you see the mini keyboard, remember that you
simply press A. Okay. All right. Alright, let's see. Alright, this sounds
angry enough. Alright, so let's
record that one, so. We simply press
Asterix. All right. Okay, let's close this.
Alright, here is. Now we're going to use
our kick drum, right? So we go here inside, go exactly there with N, and then go here, make sure that you have
event and cursor enabled. That way you can simply
chop this guy here. And now we can synchronize
the clk where we want. Alright? So let's first of
all, synchronize this exactly with a click of a gunshot. So we go, Okay,
that's the charge. Boom. Okay, that's the moment. Boom. Alright, so we chop, snap this guy here.
Alright, let's see. Okay. Alright. Okay,
that's the first kick. Let's layer a second
kick, as well, alright? So we go here. The second one needs to be a
little more cliquy. So let's go here and we change something
that more clique, you know? Hmm. Hmm. Well, in general, something
that may sound cooler, you know, kind of different. Mm. Hmm. Okay,
maybe there's one. Maybe there's one here. Yeah.
Alright, let's see. Okay. And, right, so then we start
to also make a third sound. It's gonna be kind of some kind of sweep of high
frequencies, right? So to do that, we can simply use the synthesizer to do that. So let's use our best friend RaptgO if you have any synthesizer, you
can do that that way. So let's use, in this case, this guy, let's call this sweep. Okay? Now we got to
simply play high a note. So, let's recycle this. Let's see. Let's put
this in solo for now. Okay, let's loop. Now we're going to design
this with we need to simply send envelope
to the pitch, you know, so this pitch is
gonna be changed dynamically at every when we press
the key, you know? So to do that, Oh
we can use the LFO. You know, that's also working. Let's use simply the tooth waveform for the LFO number one, and we send it to the pitch
of the first oscillator. So we go here, pitch. Let's see. Okay, and then we simply
initial go down dip right? So let's see. And we need this to restart automatically and think with the re trigger, otherwise, it's gonna be
all out of sync, you know? See what's happening.
Now it's consistent. Let's boost the volume because
this volume is very low. So let's go here, OTT.
Oh, alright, here's. And let's make sure
that the volume gets automatically
closed instantly. Alright, here's.
Slightly longer. And yeah, now we're back in the 80s with a jump
sound of a character. Alright? Okay, let's make
this a little better. So let's tweak the Okay. I think that first
of all, we should change the initial pitch, so we go here, change
the pitch transpose. We'll see. Start from
a very high note, you know, maybe even higher. Then we're going
to simply change the amplitude of the
depth of the LFO. Let me show you. See what's happening for, right? So we sit have that high frequency component
of the gunshot. That's the point,
you know? And we can tweak it simply with one
L LFO. It's crazy, right? That's the point, you
know, and then you can tweak the pitch in case. You know, that's a very
important component of gunshots. That's the point. Right? Okay. Okay. Ooh. Alright, right, right.
Okay. And now we can start to also design a little bit better
the first two cooks. So let's make the
first one a little more roomy and so it. Let's see. Okay. Let's insert a
nice first room here. You see what's happening? Alright. And then, let's
see the second one. This is kind of a
first. Let's make the second **** Lower, you know, low cook low cook. Hey, we're going to use a
filter to achieve that. Let's also a bit crush it. Hey, we simply do this. Alright, see what's happening so it sounds more in your face. And one very
important trick is to kind of when you use multiple
layers for one sound, one trick is to put
them all of them in a group track and
then place all of them in the same
reverb so they sound more integrated and
merged, you know? So to that, we're gonna
simply select all the tracks, add the track, and obviously group tracks you
select the tracks. And that's it. We can call this gunshot master and confirm. Alright, now they're
all going out of here, and we can place them in the same exact
environment, you know? I'm gonna use the nice
reverence? Poof, right? And then let's oe a
fab furnished room. Let's see. Maybe
there's one here. Poof. You know? That's it. That's it. Okay, and finally, your final maximization with
a nice squasher. Alright, and then we
can re pitch all of this with a nice pitch driver or wherever actually prefer. Skip around 60% of the skip some of the
originals down, right? So this is gonna be a
layering fundamentally. See what's happening foo. Alright. And then the combinations
are infinite, you know? And finally, we can
bit crush Athingles. This depends how sci fi or realistic you want the gunshot you sound
you sound, right? You have some choice at
this point, you know? But that's the point, you
know, you have some kind of initial sound that you
can customize, you know? You know, completely
reaches you where we want, you know? Oh, right. And yeah, so now we go here, And then we need you to simply the true hear
sounds for the glock, so we're going to use
a metallic sound here. L s. Alright, let's just record. A new sound as well here. Let's do it. Let me
check the performance. So we're going to do a
little loop here, om boom. Okay. Okay. So let's do it. Okay. I think that's enough. Let's see. Exactly. Alright.
We're gonna sink it better. So let's see. One.
Alright, one here. So that's one. And then second one is actually
started earlier. So here, and then we cross fade. Alright. Boom, boom. G close. Close, close close. Alright. Alright.
Okay? And finally, let's simply do the room the natural room sound that we had already
with the recording. Otherwise, we would have simply used another
room sound, right? To make everything
sound real, you know? Like this. That's it. Let's see. Let's loop
the entire video. Let's see what we have so far.
Poof. Alright? That's it. And then you simply obviously mix everything,
so let's see. Poof, you know? Of, you
know, that's it. That's it. So this is hyperrealism. You can use fake sounds to rebuild and make something still feel real or actually
better than real life. This is happening all
the time in the movies. You know, they all are kind of emphasize sounds, you know, very rarely you hear exactly the raw make recording
of the sounds, you know? Even though usually it's a useful layer to have for
sound design purposes, you know, as you can see here, I did record the actual
sounds of the camera, so I can first ever use
the room down, you know. So definitely it helps, you know, but it's
not all of that. That's the point. So, have
fun with this, alright? Finally, let's muse the video. And let me just reveal the last principle of
successful sound design. It's more about awareness. You just need to be
aware of the fact that sound is usually more important of the video because sound is in of itself
already visual. You can already imagine
what is happening in your mind as you hear, you know? So let me show you right
now we don't hear, we don't see anything, so that joint don't
watch watch here. Just close your eyes, alright? And I invite you to
imagine what is happening, alright? So let's do it. Just close your eyes, Lise. Okay, you see what is happening. So in our mind, we can already imagine that there
is a glock sound, and a gunshot of
some sort, alright? Which means that we can imagine the person that is holding
the weapon, right? And we can imagine a little bit of the environment already, according to how long
or short the reverb is. That's why sound is at least 70% important in all the media
very, very important. Alright?
47. Video Editing?? Yes.: Video import is one of the most amazing features
of HBase and innuendo. Let me show you how it
works. All we need to do is to simply import
a MP four file. So we go here, File, Import. So in this case, we need
to import a silent video. All right, so we go here,
video file. All right. As you can see, we
have an option to also import the video,
the audio, video. We can see all the stats.
It's very precise. And these are all the
formats compatible. In this case, it's an MP four, so we can simply double
click. Yeah, yeah, that's it. So now inside our project. So opened the video player. First of all, let me make
you aware of the context. This is kind of a
tiny remix where we are using a video
game sound effect, the crash bandit one
up live effect, right? So we're going to
synchronize that mini video to each of our attacks
of that sample, you know? That's the purpose. And, right, so let's first give a listen to the song, then Alright, let's include
also some intro here, where we play the sample in
its original form. Alright. Let's also enable a
nice reverb. Alright. All right. Okay. So now, you know, what are we
talking about, Kim? So here the video, sometimes it may give
you some kind of error where maybe the frame
rate of the project is not in sync with the frame
rate of the video that you imported simply press
Shift S, and click here. Get frame rate from
video, and that's it. Alright, I will automatically fetch the right frame
rate, and that's it, okay? But as you can see, in
case you can change manually the frame rate,
which is something else. You know, you have pretty
much high freedom. And yeah, so that's
the first step. Then confirm to open the video player simply double click on the video
object like this, and then you can
resize it. Like this. You can keep the
aspect ratio intact. You have options about
the quality, like this. Let's see if I can I can also stretch it if you uncheck
the internal aspect ratio. Let's keep it original for
now, like this, right? And obviously, we'll
play only when we encounter the video
with a playhead, right? Mm, right? So that's our video. And yeah, so then we can move this object as
if it was a event, you know, as if it was a
medi or Audi event, right? So it's gonna follow exactly our metric separation and snapping rules that
we set up here, right? Working with this,
maybe it makes more sense to enable the
advanced snapping mode, right? So we're going to
enable this that way, it's not gonna fold the grid, but just the bare attack
point of every single event. As you can see now, it's not snapping anymore in the grid, but simply to the
attacks of each event. I already chopped, right,
when I made the music. So that way is an easy
way to simply snap this exactly to the beginning of each sample attack that
I did, you know, here. And then we can simply
chop the video, you know, like this. And then we can copy it, right? Drag it's gonna
obviously restart. So we can almost
video edit here, you know, perfectly in sync
to make a music music video. You probably saw these
kind of videos where the sample repeats exactly
in thing with the music. This is how it's done properly. You just work
straight in the dog. That way you easily
sync the video text to all your crazy counterpoints
and midi notes, let's see. Right? And that's it. And as you can see the
video as a little, we probably need to remove a little part from the
beginning of the video. So you can see the one up doesn't arrive
immediately, right? So we simply trim it. So to move frame by
frame, use a shortcut. In my case, I use Alt
N and Alt B. Alright? So now I'm moving
frame by frame, right? So, in case that doesn't
work on your side, just double check the
shortcut, you show here. So I already shows you
in other sections. And key commands and
just go one frame, search one frame. Here's. Alright, change these shortcuts
to what we want, alright? Alright. That way you
can precisely move. And whatever frame makes sense. Right, exactly here. Alright, now we chop it here. Alright, how cool will be if we could chop exactly
where the playhead is? Well, you can simply do it by
enabling event plus cursor. Boom. Now, in fact, it will also snap
where the cursor is. And yeah, now we can
simply snap this here. And so where did you go? Alright, and now it's perfectly visible for the longest time, does seem? Alright, right? Way better, right? Ins. So now we're gonna start to synchronize the rest to all
the other events. So we go here, and that's it. So just remember that we can bypass the snapping by
holding control, right? Yeah, so let's go. We
chop, chop. Like this. Pretty easy, you know, boom, once you know the trick,
it becomes very easy. Alright, now, should
pretty much be Perfect. Let's see. Let's make it a
little faster here, exactly. Let's see. Alright. As solo the sound double check the sync. As you can see, you can
mute the video track. You can keep it black, kind of closed, you know, t. Alright, yep, it's working. Hey, let's continue. So we remember simply copy and paste. At that point, almost
becomes copy and paste. So let's just complete the cycle of editing, so we go here. As you can see, it's pretty straightforward
at that point, you know, like this,
boom, boom, boom. Alright? And, yeah. So once more, one more. One more here, one more here. Alright. It's not too complex
in this case, you know. But see you see how quick the
workflow is at that point, you can easily perfectly synchronize the all the
attacks of the video. H Okay, okay, okay.
That's it, you know? And in the second
cycle of the song, I repeat exactly
the same matrix, so we don't need to
do it again by hand. We simply select the
cycle that we did here, and we go to per second, we return to grid
relative, right? And then we enable bar, okay? And then we can simply drag all our amazing events
while holding Alt. And that way, it
will keep them in the right relative position. And then I can simply
release, boom. Alright? And now it's perfectly in sync also for
the second cycle. In fact, let's see.
And I've got to. Alright. That's it.
That's it. That's it. And then then let's go back
here at the beginning. You can obviously import
another video, multiple videos, and you can alternate
multiple videos, you know, one, two,
three, what we want. In the same lane, you can alternate
multiple video objects. There is no limit, alright? In case you're making
some kind of film and, you know, some kind of
more serious situation, maybe sound design
or long project, you maybe you may be needing to enable the
time code, right? So you go to studio. Studio setup, video
player down here, and we have the check box for the time code.
So you enable this. And so that's it. You can also, as you can see, change some
other things, you know, where the time code
is in the video and the color space display, and that's it. Let's
apply. Alright. And yeah, now we have also the time code integrated
into the video that way, right? In this case,
we don't need it. And when you work with VDO, you may need to change
also the metric of the entire time bar up here
to the actual time code, right, with frames
because right now it's simply still in
musical mode, right? So you may temporarily
need to switch that by simply right clicking here and change whoever
metric you need. In this case, Tc. And now fundamentally is
representing the seconds, but with the frames, right? You can also
do it from here. Change this here to
time code, right? So now, these are the seconds. These are frames, which are obviously in 29
in this case, right? And then there's a new second. And these are sub frames, okay? And then we have minutes and
hours. Alright? That's it. That's it. You can also display multiple matrics
at the same time. So you can monitor milliseconds versus time code
at the same time, but most people need only to visualize one
at a time, right? And, yeah, so that's
it. That's it. So that way you can easily move frame by frame
from here using the wheel or with a shortcut
or whatever we want. You know, then we can also move the event exactly there, right? Like this maybe sometimes an issue place one event
one or two frames before. Now I'll tell you something
that may blow your mind. Sometimes when you
synchronize video with audio, you may naturally
feel the need to place the video slightly
before the audio, right? In order to perceive it truly
in sync with the audio. The reason behind this is
because on a physical level, processing images
through our eyes takes a little longer compared to process the sounds
with the ears, right? That means that you
compensate this delay. Normally, we may need to place the video slightly a
couple frames before the sound to actually perceive fully in
sync with a sound, you know, and yeah, but that depends also on
the video, how fast it is. There are so many other factors. On overall level,
this is how we work. You know? It's cool to be aware also this
principle, right? If you have multiple screens, you can easily place this
player on other screen, and then double click to
place the full screen. I don't know why you
want to do that, but you may need to do that. So then simply you
can simply press double click again or press
Escape or press F eight, which is a shortcut to open and close the video player in
the first place, alright? And, yeah, still if only one
screen, just keep it here, for example, you know, so
those bothering too much. And yeah, you're ready to go. Finally, obviously, one
part of this workflow, once you have synchronized your video perfectly
with your music events, you need to export the video so you can then
escalate to a full. You can go to a video editor, like premiere or DaVinci
final cast, right? And then apply crazier eft on the pre synchronized
video already, right? So to do that, we
simply choose obviously the range of export,
right of the project. So we need to export until
here, about here, okay? And then we simply go here, file export, video. That's it. You know? And here, you don't have too many choices. Simply choose the
destination file. And you can also include the audio into the video
in case. And that's it. You can include the time
code in case it's needed, and not much else, you know, simply export the
video like this, and it's gonna convert
this to P four. A pretty much high quality p four that you can then continue to work on on a fully fledged
video editor, alright?
48. Save CPU Power: When you start to make music
very often, eventually, you're going to
deal with the issue of not having enough CPU or RAM to run your playback
smoothly in your projects. Alright? Fundamentally,
it will be kind of impossible to play your songs
simply with the Spacebar. You know, you will kind of hear some glitches, some dropout. And I can grant
you that can be a very, very annoying experience. This section is
completely dedicated on showing you different
methods to upload some of the CPU or RAM stress in order to restore a smooth
playback in your songs. So right, let's see.
Before we do anything, let's make sure that we can see the performance monitor, right? So see that make sure that
you right click up here and go all the way down until you see audio performance
mirror, right? So just click this guy. And so just drag it up
until you can see it. Alright, is this
guy here, right? Let's put out the
center in this case. Okay. And yeah, so
I was thinking, let's just double
click here to open it. And in case you see
this thing here, drop out, we can see
the full information. So the most important thing are these 4 meters at the top, okay? So, real time is gonna indicate how close we are from having
issues of playback, right? So let me show you right now, there is no these are very low, but let me show you what happens if I start playing the music. See that they are
line increasing. Eventually, now in
the second part, these are probably gonna
increase a little bit. Oh. See what happens? And that fundamatally happens because the amount of
load is not static. It depends on how much
stuff is happening at the same it's happening at the same time in your
project, right? So we need to be
prepared to deal with those peaks of demanding
performance, right? If you have a powerful
enough computer, if you have all cores, all speed, like 5 gigahertz, eight cores, 16 core, CPU, and at least 32 gigabytes of a you may never have
these kind of issues, but sometimes you you're
maybe using a little laptop to continue your project or you are not on your
main computer, right? So you may need to use some
of these techniques you upload and just make these
bars a little lower, right? Let's suppose I need my purpose is to decrease
these even more, okay? So the first thing that
you need to be careful of is when you use audio files, you need to make sure that
you're using a local SSD. So don't use external drives. You know, don't use mechanical
drives, USB drives. Make sure that your
drives are connected directly to your M
board if possible. If you have that possibility, use at least a
USBC SSD, alright? Even though that's
already not ideal. Alright? Now that we've already
the concept of samples, read, speed, let's go to the
CPU and RAM related issues. So one technique is to pre
render some of our tracks, right to kind of
completely upload the effects demand that
some of those have, right? So to do that, we can simply
use the freeze button, which is this thing here. Alright freeze channel. So if you don't see this button, make sure that you
we click here. Track control settings. And make sure that
you add the freeze. From here, you're
probably going to see this cheer on the left
if you don't have it, and then select
freeze and then add. Boom. Alright, and then you can arrange it
wherever you want, and then confirm, and you're going to see this
on every single track. What this does is it's going to pre render your whole track. So for example, let's solo
over the chops track. Okay. Okay. So now we're going
to freeze it, okay? As you can see all
these effects here. Let's increase the CPU load on purpose just by increasing
the reverbs, right? So reverbs are one of the most heavy things
that you could have so let's just
duplicate a bunch of these. Alright, maybe a little more. Alright, okay. Now as you can see it's ready
starts to peak. So if you press
the freeze button, fundamentally is going to
pre render all this stuff, and it's going to
make it sound exactly as you want in theory. And we're gonna give it some
tail to avoid some books. Let's give it at least
3 seconds of tail. So, fundamentally,
it's not gonna be chopped off after you go
past this point, right? And let's also include the
inserts in the freezing. So these are not gonna be editable anymore
after the freezing. So we press, okay? Wait a couple seconds. And Whoo. Okay. Is what happens. Completely zero real time. Usage and peak are
completely demolished. Alright? That's
the point of this. And yeah, so now it's
your CPU is gonna thank you because it's not gonna use RAM or CPU to
play that part. It's only gonna read a pre
rendered file for the matter, you know? That's it. But disadvantage is that we cannot edit it when
it's frozen, right? So, in case you need to return to edit mode,
simply unfreeze it. So go here and unfreeze. Boom, I'm gonna tell you, Okay, do want to delete
the previous file? Yes, because if you in already change some parameters, it's gonna sound different. So yes, let's delete
the frozen files. Alright, and, yeah, and you can reopen all your plugins,
you know, that's this. And yeah, that's it. That's it. When you freeze a track, if you don't include
the inserts, obviously, you're gonna have
you're gonna still be able to edit those, right? But obviously, the
amount of CPU and RAM upload is gonna be way
lower Freeze everything. You know, that's my
recommendation, right? And that's one thing in
literature like this. You can still do
the basic functions like soloing, the track, muting, or we can tweak the
fader or the pen, right? So those things
remain available, which is a good thing for mixing and mastering the track, right? Another way to upload
the CPU usage in the am is also to render
in place the track. So you simply sew up the event, and then you simply press, edit, render in place. Render settings. And yeah. The age of this is you can give an exact name to the
render that you do. You know, for
example, voice chops. Frozen. Okay? And you can chose
the folder where it goes. You can automatically decide what happens to the
original event. So you can, for example,
mute the source events, yes. And you can choose the
exact type of render. Do you want to simply export this event without including the effects or include
the effects, right? You can choose kind of more precisely how the
render is gonna sound like, you know, in this case,
won't you include, for example, simply
the dry the dry so simply just sound of the
sampler without any effects, right? So when you do that? You can simply render. And it's going to automatically import the audio file, right? And it's gonna already
mute the original events, but it still technically
online, right? So, which means that you truly
upload the usage of CPU, you need to disable the track. So to do that, simply right, click on the shops
original track. And here, disable
selected tracks, alright? So watch carefully the
performance monitor. Three, two, one, boom. Alright. Yep, eo. Yeah. Alright, that's
it. That's it. You know, that's the
point. Disadvantage of this method is slightly
more aggressive, let's say, you know,
it's not straightforward as freeze method. But sometimes, this is
gonna be preferable, right? So it's very important
that, you know, all these different shades. So you can see then
we have a copy of the entire track that
we just exported here, you know, with all all the
effects in case, right? So then we can simply still bypass those like this, right? By the way, bypassing
the effects we already kind of free
some CPU usage, for sure, you know, especially the reverbs
and more heavy effects. Alright, so at this point,
let's do a step back. Let's re enable this track. And let me show you
one more technique, which is slightly more advanced. Now that you're aware of the
fact that bypassing a track will upload some
of the CPU usage. In theory, if you want
to optimize your track, maybe you can already solve your playback issues by simply taking the
time to automate the bypass button of every single effect of every
single track of your song, you know, what I mean
is that, in most cases, the effects don't need to stay online all the time, right? They need to stay online only when the track is
playing, right? So, it means that,
in this case, here, the chop, you know,
here is done, right? So, in theory, we
can simply bypass all these reverbs already
around this spot of the song. That's the point and free up some CP already
that way, right? So to show you the
proof of this, let's first play this section
of the song, you know, from here to here.
Alright. Okay. See that? Even though
the chops are done here, real time and peak still remain pretty
much the same, right? So, the see what happens if we bypass every single reverb, every single effect
of the chops one track as soon as we are
done with that, right? So to do that,
there are two ways. You can simply open every
single track so you can, uh, that's going to take
a long time, right, because you open like this, then you we click on
the Bypass button, and then you show the bypass
automation track like this. But that's very inefficient, especially if you have the
full chain occupied, right? So one trick that I use
is to simply enable the writing mode like
this per second, right? I keep just one section
of the song playing, right? Like this. Okay? And then I also make sure that I have the button that is going to show you every single
prompter when it gets touched in writing mode. So make sure that you have
the automation options here, right? And then you go to the E. And then go to the settings and enable this nice check box. Reveal perimeter on right. This is very important for
this strip to work, alright? And then you go
simply back here. You keep this playing and Let's actually let's actually just continue to play
like this. Alright? And you can see now that
the writing is enabled, we can simply disable our effects manually,
you know, quickly. So let me show you. Actually,
let's go exactly here. Alright. This. And at this point, we know
that all the tracks are done, so we can simply
bypass those all at once by pressing this
noise button here. Alright? One, two, three, boom. Ooh. Alright, and then simply stop. Alright. And yeah, so,
see what happened. Now it kind of exploded. Every single bypass
perimeter automation track instantly for us,
right, you should go, right? So at this point,
we simply need to disable the W. Alright, and all the effects
are disabled. And now we simply need to prepare the automation on
one of these, you know, so we need the reverb to be on until this spot like
here in this track, right? And then we should bypass
it around here, you know, maybe slightly later, in
case there is a tiny tail, that depends on how
long the re rib is. In this case it's a
very short re rib, so it doesn't matter. And in theory, then you can simply prepare four
points like this. And then it simply
fresh shift right. And control and control on every single truck,
you know, simply space. Alright, based on every single
one like this, you know? Boom. Alright, you see
what's happening? That way, we have the automation
for every single one. Right? Boom. So. You
still have it. Right? So, and then make sure that
the automation is fine. So maybe clean it up like this. Alright? Yes, yeah, that's
the point. That's the point. So thanks to this method, we are quickly automating the bypass of every
single track, you know? That's the point. And, alright, let's check the
performance gain. So right now all the
effects are online. Right after that section, now every effac is
gonna go offline, right? So, let's see. Poof. You see a have it? So that's the point, alright? This is kind of a little
more advanced technique. But it's kind of one of
the best trade offs I found to fundamentally
keep your song unchanged. You know, don't make anything go offline with this method. And you simply automate the bypass of every
single effect, you know, cause the quantity
is what matters in the end. Imagine doing this for your
whole tracks, you know, optimize this way every single effect
for every single lane. Fundamentally, you're gonna
gain a lot of more CPU. Right now is probably just
uselessly used, right? Because it keeps all the effects online all the time
for no reason, right? So that's the principle of this. You're probably thinking, Well, is there a way to
automatically control all the bypass buttons with
one single control at once? The answer is yes. So
let's go back in time. So let's go simply let's delete the automation on
all these trucks. So we actually
select simply all of these automation lanes and we simply delete them, so ship. Leaped. Alright? So now
there is no automation. These are now back
simply affixed, right? So to make a single switch for all the bypasses
of your track, of your tracks in
general, you know, in this case, let's
just do it for this track specifically
chops one, okay? We need to use one of
the modulators, right? So we go down here with
this noise button. And let's create a
modulator with the knob, like this, the knob, alright? And we're going to assign 16. We're going to make click
the learn mode like this and open each reverb so that you open each
reverb straight, we can simply press all shift and click on the
E of the channel, and it's going to boom,
explode every single one. Maybe this was not a good
idea because now, okay, on. Let me just shift
these slid Like this? Alright. But it's kind
of a cool way to kind of avoid forgetting some
of these, you know? Alright. We just need to reach the learn button. All right. Okay, here is. Okay, so
you simply click earn. And then click on one
of the bypass buttons. Boom. Alright? Okay,
now it's connected. So you simply exit. Okay, that's done, and then add the new modulator,
learn, connect, escape. And then continue until you
have connected all 16, right? So let's just skip forward. Alright, so now they are all 16 connected to
this knob, alright? And they are all right
now in the off position, as you can see, you know,
we have four pages. It's crazy, right? And, yeah. And as you can see, there's
literally no limit. We can go on for I don't know how many connections
at once. It's crazy, right? So we have now this knob
connected to all of those, and now we have power. So the solution now is this. Just make sure that
every single knob here, connection is 100%
positive here. Alright, Latus. So make sure that everyone
now is 100 Latus. Okay? And let's now
see what happens. Alright. Yeah, it's really
working. Woof. Okay. You see what is happening?
Now, when I go to 100% on the macro knob, it's gonna bypass
the tracks, okay? Then as I go lower, lower, as I go to -100%, it's
gonna already work. It's gonna already
turn to the opposite. That's the point,
right? So, yeah. So let's just now,
make sure that every single connection
is on plus 100. Alright. Now in three, if I
go to 100%, exactly. And now if I go to -100%, she'd kind of turn on
everything, you see? Whoo. That's it. It's working, right? So now you can control
all the bypasses straight from this single
master knob safely, alright? And, yeah. So at this point, let's just right click
on this macro knob show. Now we can close this window. And that's it. Now we have this. I think we can also rename this, Let's see. I think
we can rename it. Let's hope so. Exactly,
yeah, we can rename it. So, let's call this
master bypass. Alright? Boom. Alright,
and that's it. So now we return here.
And where did you go? So we go here and we need to keep these all on
right now, exactly. But then, as soon as we are done with that specific
part of the song, we can keep these
offline to make space on the CPU for other things that need
to play back, right? So let's go like this. You know, boom.
Now, should work. Let's see. Four. That's
it. It's crazy, right? So, so that's a significantly way cleaner to control many bypasses
all at once. What about that?
Alright? And that's an exclusive feature of
innuendo and QB is 14 and up. Something else that very many
people just underestimate, especially when they buy a
little more expensive card, they may get misled by the fact that it can
record a double frame rate like 88.2 K killer Hertz
or even 192 killer hertz. But the truth is
that in the end, when people when they're going to listen to
your music online, it's going to be at
standard sample rate, like 48 or 44.1
kilohertz, right? The issue is that if you
choose double frame rates, it's going to use twice or four times as much CPU to do the
same thing fatal, you know? So what I'm trying to
tell you is that try to make your music normally
at standard sample rate, you know, so to
double check that, make sure that you
go to shift S and you make sure you check this
sample rate 44.1 or 48. That's it. You know? All the oler sample rates
fundamentally are useful, only if you need to do a
very a very specific type of project where
maybe you are trying to you already know that you need to have the
highest resolution as possible to kind of hyper
stretch your samples, right? That's maybe one of the
reasons why it can be useful. You know, just imagine
the sample rate, like the frame rate of
a video camera, right? If you're going to
record for cinema, you can simply record the
24 frames per second, which is fundamentally 44
or 48 kilohertz in audio. You know, that's it. 90% of people don't need
these sample rates. They will simply end up
using more CPU than normal, and means that
you're going to have more issues compared to people that simply
settle with 44 or 48. Alright? So that's a
takeaway, you know, me myself, for years, I used ADight too, but I realized that
I was simply taking twice a big amount
of space in my SSD. And I was using twice as CPU. You know, when I could have just used standard sample des, and the results were
simply the same. You know, in the
end, the quality the quality of the
music is what matters, not the sample rate.
I can grant you. If after all these things, you still have
playback issues, well, in that case, you can use you can simply increase the
playback buffer, alright? So to do that, we can go
to the studio settings. So here, see your setup. And according to your driver, you may have a control
for the buffer, alright? So let me show you
how it looks like. Let me go to my own in my case, here. Alright, here is. Okay, you're gonna see
something like this, you know, where we have a control, a buffer size, control
in samples, alright? The higher this is, the lower the average CPU and RAM usage of your
project is gonna be, but the latency of playback and recording is gonna be is
gonna be higher, right? So if you need low latency, very high responsiveness,
obviously, tour you keep this
as w as possible. If you have a
supercomputer, you can keep this always
very low like this. But most people will
need to probably stay at around 512 and up, you know, maybe 1024. And so, yeah, then if you need to save even
more CPU over this, well, in that case,
you can start use the advanced options here in the audio system
settings, right? So you go here,
and first of all, make sure that you're not
using 64 flout point, that's completely
useless unless you do mastering as a job, alright? Then enable debate
multiprocessing. So in case you
have a multi core, CPU, obviously, keep this on. And activate as your guard. So Azure guard
fundamentally is a feature that is going to look
forward in your song, right? You attempt to pre load
it even before you reach that point with a playhead and thus avoiding dropouts, right? So you can increase this
number here, disc preload. So the higher this is, the wider the window
preload is going to be. And Mini case maybe strug
to keep this high, right? But it's going to increase
the latency, again, right? And finally, here
the azioGuard level here right now is set to
the standard normal mode. If your project is
completely unstable, right? Unrecoverable, try
to go too high. You know, it may be able to make some parts a little more
stable to play back, alright? Otherwise, stay normal
most of the time. And only when you need
extremely low latency. Try to press this
too low, alright? In my case, I keep it standard,
normal, and that's fine. Alright. Finally,
the very last thing that you can attempt in
case your project is completely unstable is use this nice button here called constraint
delay compensation. So what does this mean? So this button is fundamentally
a kill latency button. So as soon as you press it, it's going to disable
completely every single effect in your project that introduces even the slightest
latency, right? This is a very aggressive
solution because it's going to change significantly how your
song may sound like, right? So let's see how many of these effects are
going to be disabled. Maybe I can simply enable the mini mixer for
once so I can go here. And let's go to the mixer
here, right, exactly. So we're going to hide
the faders just for now. All right. Okay. You can do it from here, so you
click this button. Fader off exactly. Alright here. Alright. So watch carefully what happens if I press
this button here. Three, two, one, Alright, okay. You see? So okay, some of
those got offline because those were the
effects that we're introducing relevant
latency, right? We're talking about
milliseconds per effect. But obviously, that
adds up, right? Becomes tens or hundreds
of milliseconds, and that becomes
noticeable, right? So that's what this button does. And if you keep this on, your load of CPU is going to decrease significantly,
most likely. And yeah, so and then you're
going to be able to continue recording or kind of continue
your song, at least, right? It's kind of extreme solution, but in case you have a very weak laptop to work with, you know, for a couple of weeks before you return to your main machine, this button can save your
life because at least you can continue composing
this way, right? And then simply when you're
back to your main computer, just read restore all
your effects, pull power. And yeah, and then you're
back in business. Alright. One last thing
that you can do to your audio audio tracks, is you do offline
processing, right? Fundamentally, you can
select a track that you want to target with a
specific effect, right? For example, let's
suppose we want you to apply a OTT, in
this case, right? Simply a very high compression
plus a reverb, right? So, in theory, you can not apply it in real time here,
but in offline. So you select the target, right? And then you go to audio. So first of all, you're
going to normalize it. For example, here
we go to processes, normalize Alright, and here is. So here we have the direct offline processing
window right here, now we're going to control the offline processes of this track. And this can also
include plug ins, right? So we can click here, plugin. And let's use a nice
OTT, like this. And and make sure that
you enable Auto apply. So that way you
see in real time, the results in your waveform. So let's increase
the output gain. Alright, see what's happening? It takes kind of
a second because it's going to kind of spread the processing
every single time. You change something
in this window, right? Okay. You see what is happening? So this is also a kind of
cool way to understand how the waveform of a track
is affected by any, every type of effect, right? To fully understand what
the hell is happening. And, right, that seems
pretty squashed, right? And then let's go to one more e. So let's go here. Let's
apply rerbRference? And let me show you, right?
See what is happening? Now we kind of return
to normal because thanks to the reburb it
looks normal again, right? So let's see, let's
then increase, for example, the
size and the amount. So it's fully connected
to our waveform visually, you know, which is pretty
cool thing, you know, and then we can choos a preset. It's really as if this effect
was available in real time, with the full features,
but it's offline. So we only change one thing, and then that snapshot of
setting is going to be applied all across the
selected clip, you know? And the advantage of this is the obvious zero CPU usage because it doesn't require
real time processing. It's going to already be embedded in the clip
that we have here. It's crazy, right? And, yeah, and then you can simply
close this and continue. Let me show you now this
track is already processed, even if I bypass these effect. Right? Can you make this
a little higher volume? See what's happening? So
it sounds reverb. What? As you see what happens,
there's no trail. There is no tail when
I stop the playback, because this reverb is
embedded into the track, so it's immediately
stopped, right? This is pretty useful
if you want to maybe process a truck, even before dragging it inside the sampler,
for example, right? So this technique can be
really useful in that case. It's really what I
would do myself. And yeah, and you can
go back to the chain of that specific clip by going to audio, direct
afin processing. That's going to reopen
that amazing window, and we can even bypass one of the effects like this,
right? It's crazy, right? So it's going to show you the result already in the window like this if I disable the
normalization, the OTT, right? It's going to give you
full control on this, but it's offline.
That's the whole thing. No CPU usage in this, right? This interializ make
very complex tracks, even on a very weak computer. And, yeah, I hope you
like all these tricks.
49. Share / Archive Projects: When a project is complete, you may need to
either archive it in your hard drive or to share
it to a collaborator, right? So one of the most
common issues is the fact that when older people will try to open your project, it will kind of present
missing files, right? And the reason is because sometimes when we make projects, we kind of use files coming from different
drives, sometimes, right? So there's a feature that automatically makes a
copy of our project into a separate folder and gathers all the used files straight
into that specific folder. It means that
fundamentally makes a standalone version of our project, which is
pretty cool, right? So to do that, we simply
need to go here, file. Backup project and simply
choose a empty folder. So let me go, for
example, here, V drive. Okay, I just make a new folder. Let's call this project one. Share ready. And yeah, then we select that
folder and sub confirm. And then simply give a name to the project
in case, you know, like share version like this and then confirm.
Okay, here this. As you can see, we have
simply one project file and only the used audio file
already, ready to go here. And that's it. So that way, you can
archive this project safely or share it to
other people, right? And the only thing that people will need you probably
install manually is the missing plug
ins in case there is external plug ins used
in your project, right? But this is a way
to already reduce all the possible issues
to the minimum, you know? And also, the advantage
of this is that the resulting folder
will be smaller, most likely, compared to your
actual folder file, right? So this project, as you can see the final folder is only
ten megabyte big, whereas, if we go here to
our actual project, let's go back to the
original project file, and then we go to the pool of files by
pressing Control P. We can see that indeed
the total project size right now is 27
megabytes, right? Because right now, the
original project file includes also files that in the end didn't get used at all. That's the point, which is probably which is this one here. Also, the trash has multiple discarded takes that I didn't use when
recording, you know? So, so yeah, so now that we're already talking
about a separate topic, every single project
has a way to monitor all the used medias in this
amazing window called pool. So the pool is accessible
by pressing Control P. Like this. And yeah, and now we can see
this, all the files. And this is an amazing
window if you want to reduce the size of
your project, right? So, for example, you can automatically right click here
and r everywhere you want. And then remove used
media, alright? That will ask you
now three things. Do you want to place
in the trash right? So eventually you can still
kind of restore those later, or do you want to
remove complete the reference of that
file from the project? For now, let's just place
in the trash, okay? And by the way, if you
remove it from the pool, it will not delete the
actual file, right? So, yeah. So then here in the trash, only when we are 100% sure that we don't need these
actual files, we can finally double
click here trash. And we can actually erase
the unused files, right? This will actually erase
the files from the disk, which means that we
will save space, but make sure that maybe you have a backup
or that you are 100% sure that these files are just trash that
you don't need, right? And, yeah, but the way, the truth is that if you
record mostly in flack format, you can kind of accept
the fact that you may forget sometimes
to empty the trash because already the files are 50% smaller compared to recording in weight
format, right? But if you really want to
optimize your hard drive, you should also
empty the trash when your project is finally
complete, right? Just double check
that here, the path, nothing raised the
suspension that maybe there are
some useful files. So double check, triple check your files
here in the path. And only if you're sure that
those are useless files, you can actually double click and erase those files, right? And finally, one amazing
feature is called minimization, which consists of fundamentally
restating the files uh, just with the part that we
are using in the project, you know, of that specific file. That means that let's
suppose that we record a 15 second file, right? And of those 15
seconds, in the end, after all the
chopping that we did, we only used maybe 30%
of that file, you know? So there is a way
to kind of resave that original log
file so that it only contains those chops that we used in
the end, you know? So that obviously results in a smaller file. You
know, that's the way. But be careful because
when you minimize a file, you will also lose
permanently those chops, those parts of file
that you didn't use. So, in theory, it's
not a big deal, right? But if you want to be able to revert back to the full
original raw file, don't minimize
your files, right? So, in case you want to use
that feature, as you can see, when you archive the project, it will automatically give you
that option. So let me go. Let me show you so when we
attempt to save a backup, it will indeed give us this option by default
to minimize audio files. So this will really make the files as small as
possible, you know. But it's kind of aggressive. So, in case you don't like the minimization,
keep it disabled. And if you want to
enable that for a specific clip,
simply go to the pool. Like this. And you can select the multiple files
if you want, or just one, for example, like this here, and then right click on that, and here is minimized
file, right? Sometimes it's not
available because maybe the file is kind of involved
in other processes, so it's not currently possible
for that specific file. But in case you want
to do it manually, that's where you find
the option, you know? Finally, let me show
you one more thing. When you work on a project, there is automatically
a folder coded audio next to the project file. So to see where that file where that folder is,
just go to the pool. And you see here, project folder is going to show
the full path of where the project file is and
the audio folder is, right? So there are three ways to change this folder in
case you want the files that we record and import to automatically go into
that new folder, right? So the first method is to
close the project for now. Then you go where
the project file is. As CNT us here, we have the audio folder with
all the files, right? So the trick is to copy
everything like this. You copy that into your
new project folder. So in this case, we
have project two here. So we paste everything here. And here we simply renamed the folder of our
original project. Change the name to
something else, add the underscore, for example. And that will
fundamentally unlink the previous folders and finally open the new
one on the new folder. And this will
automatically connect this new copy of the
project to this new folder. Alright? So let me show you
if we go to the pool, Oof. You see what's
happening? It's already connected to a new folder now. So now we can continue this
project from this location. And when we record and import
new files into the project, it will automatically copy
those into this new location. Alright? That's the
point. The second method is to simply back
up the project. So if you go here and you backup and you use a new folder, so let's say Project three. Like, this will automatically change the poll already
with the new folder. Let me show you. Now if you check, now
we are already on the new project copy and new
path here Project three. Alright? And finally, the third method is to save your project as a
template, right? So you go here, file,
save as template. And just given names,
for example, test. Template. Take this. Boom. Just confirm. And you can close the project. And from that moment on, when
you create a new project, you can simply use what down
template that we created, which is now here, and you can ask it to prompt
the project location. So you simply click this option, then double click
on your template. And yeah, that way,
you can simply choose a custom location where
the medias will go too. So, for example, here, we
can call this project four. And, yeah, something confirmed. See what happens. Now, poof you see what's
happening? Project four. That's it. So these are the three methods should
be able to change the pool folder where all the files that you
record and import go too.
50. Override The 8-Sends Limit: Alright, so in oars, when you start to create more
complex tracks, eventually, especially if you use many
side chains in a project, you may face the limit
of being able to create only eight stands on every
track at once, right? So let me show you here how to override that limit, right? So to make this clear, right now, we have
simply some material. So let's call this
track material. Okay. And it's gonna serve as
a dry material for now. Simply a song, you know, okay? And just make it
a little louder. So first of all, I'm gonna
sign is sent to this material. So we right click on the track. We know this stop, we go to Add track efect track
to selected tract. So this will
automatically create a new sand with this
effect that we choose. So, in this case, revelation
is gonna be the reverb or if you don't have to use room works, right, it's
gonna be the same. And let's call this reverb. And simply confirm. Okay,
let's blast this 100%. Then we make it brighter, and then we're gonna make it way longer, kind of
infinite reverb, you know, and kind of smooth it, change the model to studio, decrease, actually
eliminate the low puctis. We're gonna make it very
bright, long reverb like this. Alright, and, yeah, that's it. Let's simply close.
Alright. And for now, let's reduce the volume
of this guy to -18. Yeah, and also make
sure that the sand is in pre fader mode. That way we ignore
completely what we do here on the main fader of the
material channel, right? So, in fact, let's
keep it very low. And also, let's keep the
river Power very low as well, like, you know, right. Okay, so right
now, it's working. Okay, we're using the sand. So to see all the
available lots, you can simply write
click here on Sans and then show all availables
lots, you know, like this. So as you can see,
we have maximum $0.08 at once that we can do. So let's fill all
these out for now to simulate the issue that
I'm talking about, right? So we simply write, click
on the sand and copy, and then simply paste on an empty channel,
you know, here. So simply make sure
that you Make sure that you can click on
an empty spot on one of the free ones if you
accidentally open this list, simply escape, and then send intensively paste,
you know, ControlV. That's it. You know, Control C, Control V. You know, repeat. All right, let's go. Let's go let's go, and
see how fast it is. So I'm simply lily
pasting the sand multiple times to simulate
this situation. Alright. Okay, so now all the
eight sands are busy, which means that
if I want to use I want this track to be
used for a side chain, I cannot use it
anymore, in theory, I will really not
appear anymore as a possible side
chain source, right? What? That's not entirely true. So let me show you how
to override this limit. So the first easy way
is to simply continue the path of this track with
a group channel, right? So we simply do this, right click on the
track. Add track. Group track to selected tracks. Alright, si confirm this. And we can call this material. And then maybe be material
to, you know, wherever or, you know, indicate something that indicates the
fact that it's simply the material but the continuation of the
path, you know? So maybe we can call
the material final, you know, Like this and confirm. Alright, so so far so good. Nothing changed, but
now fundamentally we have the channel continuing
its path from here to here. And as you can see,
the group has, again, a new set of freeze glass
for sends that we can use. That's the point,
you know, because it's exactly the same signal. You know, that's the
point, the trick. So, and, yeah, so that's
the first method to override the sand
limit, you know? Because then in case you
fill up all of these $0.08, you can continue sending this track into
another group track if you want, you know, so simply right
click this material final like this, at
track, continue. You know, there's going
to be final final, you know, final three,
maybe, like this. And, yeah, that's it. So that's the first method. The second method doesn't
require a second extract, so let's go back. Okay. And so for the second
method to work, we can simply go here on the direct routing area of
the first channel here. Direct routing, which
is where normally, you simply route the main
channel to the master, right? So this normally has the first one busy with master,
you know, here. Okay. But not everyone knows that this potentially is a second set of sands, you know,
that we can use. So to do that, simply initial right click
on direct routing. So let me show you all
the available slots. Alright? So, right click here. And then summing mode
enables this feature. And now we can simply
send this channel as if it was use all the seven available slots as if they were older sands, you know, or even
the first channel. You know, if you don't need
to send this to the master, we send all those to the verb. So yeah, so let's, for example, go here and
we should second one. Reverb. That's it. Boom. And make sure
that you turn it on, you know, so, boom, right now, as you can see, they
are both engaged. So it's going to the master and also to the reverb
at the same time. And yeah, at that point, you can simply repeat this
for up to seven times, in this case, you
know, like this. So that way we have a
total of eight plus seven. So a total of 15 potential
16 potential sands, you know, in the same track. The only limitation of this method here with
direct routing is that these sands here are
always only post fader, right? So, whereas these right
now are pre fader, so they are ignoring
completely the fact that the volume is
on minus infinite, as you can see they
are still working. These here are post fader. It means that these right
now are not working, right? So let me show you Wi Let
me show you the proof. If I simply, Okay, let's hope that we have
these four enabled. As soon as I disable
all the sands, in theory, you should
hear silence, Let's see? Alright. You see
what's happening? The web stopped
receiving signal. You see that it's dying?
That's it. It's crazy, right? So even though we
have these sands enabled here on the
material channel, they are not sending any
signal because these are all always post fader only. And since the fader is minus inflet they are
completely zeroed, right? So, so just remember this detail is very important because in case you
use many side chain, this may change slightly how the pumping effect is going to play through,
right in your trucks. Fundamentally,
remember to not move the fader too much
after you're using you decided that you're
gonna be using the track with this
specific method. That's the point, alright?
51. The Power of Folders: Folders are one of the
most powerful features of QBs because they allow
you to duplicate the entire sections of a
song while also preserving the complex automations that are synced with those events or exclude those
when you do that. So you have full freedom
when doing that, you know? So let me show you
how to use those. For now, we have this
section of a song, right? Alright, right, right, so we
know the song at this point. So let's see how we can
duplicate all of this, because we have also these
automations going on. Let me show you here, right? So it would be very very risky to duplicate these
things one by one, right? So, in theory, yes, we
can simply do this, right, simply hold all
to duplicate one by one. Well, you know, sometimes
you may forget to enable the follow
automation button, which is this
button here, right? So when you enable
this, as you can see some automation
don't carry through, because here, the master doesn't have any
of them in there. So you need to in three, copy manually this and then
duplicate copy paste later. And I can grant you that
there's a very high risk to put these out of sync. That's the point, you know? So a solid way to achieve
this is to use folders. Alright, so let's go here. So just hide all these
things for now, right, and simply write a click down here and create a new folder. Here is. And yeah,
let's call this Oh. Alright. Boom. And let's
put it at the very top. Okay. And now we simply
select everything, including the master
channel like this. So select completely
everything and simply drag it into the folder. That's this. You
see that kind of shows you that long arrow. So simply release,
and that's it. Now they are inside the folder. And as you can see, we have
a visualization that shows all the events compressed
into one single macro event. Alright. So at this point, the first advantage
is that we can kind of visually collapse
the events like this. We can kind of pack them, you
know, very easily, alright? And then now we can safely duplicate an entire
section of a song by simply selecting this
single macro event here from here from
the top, right? And us Control D, you know? So let's try. Let's see what happens.
Let me also make sure that we can see the automation so we see what is happening. So here, Alright. Okay. So we simply select the Oh macro event
at the very top, and we press Control D, alright? Boom. Fourth. You
see what happened? So it perfectly
duplicated everything, including the master
automations, right? So everything is
perfectly in sync. But there's an issue. If the length of
any of the events in all folder was not ending perfectly
at the end of the bar, obviously, we have a shift here, right, which is very annoying. So before doing this
mass duplication, make sure that you
chop like this. Do a macro chop from here. So that way we chop
all the events automatically at that
point, like this, alright? And then simply
double check that didn't cut any
significant events. And in this case,
we are green light, so we can simply select
here all and then lead. And now we can proceed with simply Control D. So we select
again, all and duplicate. Ooh. Alright. Double check that they are perfectly
in sync exactly. So yeah, now we have exactly
all the automations. We have a perfect copy of this section of the
song, fundamentally. So let's see. Right?
That's it. That's it. Achieving this manually will
be extremely time consuming. So you're very lucky that
you have this feature. The second way to
duplicate stuff is to use to drag instead, right? So if we drag, it will kind of do
the same thing. Let's see. As you can see, it also works perfectly, but it will not carry the automations of the
master channel, right? So if you have group
channels, sand channels, with the old drag method, it will not carry around those unless you select
those specifically. So if you do this,
you select this and also select manually these, then it may carry around. Let's see. All right, yeah, you see down
there, it's working. And, yeah. So unless you
select those manually, it will not carry those
around if you use oth drag. So you have these two options. And obviously,
remember that you can simply use grid relative, right? So suppose that
we have the issue that we talked about earlier, so where there's
something that makes the symmetry slightly off
here at the end, right? So in those cases, in theory, you can simply enable the
grid relative snapping mode, and at that point, you can
simply duplicate collect this. And it will still
perfectly be in sync in beginning
of the bar, right? Like that. But obviously, remember that if you don't
select the the manually, the automation of the groups, master or efxtrax it will not carry those around
when you do this, right. And yeah, so that's a very powerful thing
that you can use.
52. Create / Delete New Bars: Sometimes when you're
making a complex track, you may eventually
need to create a completely new section between two sections that
you already created. You know? For example, we have this first section here
from here to here, and then we have a second one
from here to here, right? But let's say that
we want you to make a new one here in
the middle, right? So one way, it means that when you shift
everything, right? So you can use folders. That's one way, obviously. You know, that allows you
to move all the events. But that method, despite
being good as you can see, it may leave some
automations behind, which is very annoying, right? So one safe way that is able to shift everything
safely from that spot, maybe 16 bars or 8 bars forward is to go
to the bar's menu. So we simply press
Control Alright. It makes sure that you
are in the spot where you want to apply the
shift from, right? So exactly here in
this case, alright? So now, we go to
Control alright, and as you can see open
this special window, and all we need to do is
to click Process Bars. And then we decide the
length how many bars we want you insert or delete or change the
interpretation of the time. Okay, in this case,
the most common thing is to simply insert
in your bars, alright? So insert bars. And we need let's see how many bars we
need. So let's see. Three, 48. Alright, 8 bars.
Alright, so one, two, three, four, five,
six, seven, 8 bars. Alright, so we go
here and let's go to Control T, process, 8 bars. We need to insert. And yeah. And then simply
click Precess Boom. Alright? Let me show you what happened now in the timeline. Whoo. You see what happened? Now, it safely shifted everything
from that spot on while keeping the also the automations in every single track in sync
with the rest, you know? So as you can see, Oh,
even the master automation has been shifted, you know? So yeah, and then
before you do NPNs, maybe show all the automations, show all use automation
and double check the, um, some automation
didn't got screwed up. You know, maybe see see here, there's a diagonal line
seems that we can block, for example, this automation, so it doesn't do a gradual
change unwanted, you know? And so do that final check
after this procedure. But for the most part,
it's perfect. Yeah. And now we can safely
create extra section in between without ruining the rest. That's
the point, okay? And obviously, in the end, let's suppose that in the end
you realize that you only needed to make a four bar
section, you know, it is. So the rest is useless.
So we can go here. And we go back to the
menu, process bars. And then we need to delete 4 bars this time,
you know? Like this. So delete bars. Let's
see what happens here. So, three, two, one. Boom. Ooh I see what happened? So complemental, it kind of destroyed 4 bars from this spot. So this, this, this and this. And obviously, the rest kind of scrolled back to
toward the left, you know, like this
boom. Alright? And also, again, the autovation is safely carried
with all of this, you know, including
the tracks that are normally required to be
selected manual, you know? That's the point.
53. Dynamic BPM for Slow-Down or Speed-Up: Changing the BPM of a song
is a very powerful move, but before you
proceed doing that, you should maybe be aware
of how it's gonna change your media events and audio events, most
importantly, right? So we're gonna do it very slowly to show you all the
cases, alright? So first of all, let me
show you we are back on our songs, this alright? Here you know, this
song at this point, we used it 100 times. So this song is right
now in 169 BPM, alright? So let's see what happens
if I change the BPM to a lower number,
you know, Alright. Right now I'm using simply
the mouse wheel, right? So let's try 129. As you can see, it looks like the van
are getting stretched. Alright, let's see
what is happening. Oh, no. Okay, we see
what's happening? So, the first thing that we can observe is that
when you change the BPM to a higher
or lower number, it's gonna automatically adapt the media events to the new BPM, but not necessarily the
audio events, right? So, in fact, the
audio events right now remained at their
original speed, which is 169 BPM, right? Because they were
kind of frozen, you know, kind of
baked into a file. You know, that's why
it's not responding to any subsequent change
of BPM, you know? So for now, you know what?
Let's mute the audio events, so we reduce the
variables, right? And, yeah, so right now, all the other events
are simply medi based, which means that
they're gonna respond perfritly to any change
of BPM, let's see. Alright. Yep, see
what's happening. And yeah, so we can
go even faster. Instead, you know, we can go
maybe 200 BPM. Let's try. Alright. Alright, or even slower. You
know, we have full freedom. So the first takeaway
that we can get from this is that medi is gonna perfectly adapt automatically to any BPM change you're
gonna do, right? Mm hmm. Mm hm. Alright, and that can
be a very fun way changing the speed may make sure
discover new vibes were already potentially
in your song, alright? So that said, let's
see how now we can make the audio also
reactive to the BPM change. The first way to simply slice your audio and place
it in a sampler, actually, as we already
did in the hopper track. You know, here, this
triarc, as you can see, it contains a very long
sample that has been sliced, right, with a slicter. And consequently, no
matter which BPM we use, is going to always trigger those slices on time with the music, which
is great, you know? So that's really the
first method to have audio fully reacted with
the BPM changes, you know? So the second method is to enable the musical mode
on our sample, right? So let's go back for a
second to our original BPM. So 169 A heres. Okay. So, to be able to make this nice sample
reactive to our BPM change, we need to enable
this check here. Musical mode, right? But to safely do this, I recommend make sure
that that sample is natively as long as the
cycle of bars of your song. If you can re export the sample
to be as long as 8 bars, in this case, it's going to then be perfect when you
change the BPM, right? So before we, in this case, the sample is indeed as long as 8 bars because I
already did it, you know? Well, suppose that this
was not that perfect. You know, in that case, only
to do is to simply chop the sample so that is
exactly 8 bars long, right? So you simply remove the rest
of the sample, you know, and select the remaining
eight bar, long, chop like this, and then
simply go here out do you? And bounce selection. So this will simply save
the selected chop as a new native audio file that is exactly 8
bars long, alright? At that specific BPM.
That's the point. So when you press this,
it will simply save it, you know, as a new
file, you know. And now we can proceed enabling the musical
mode on that sample. And as you can see, we have this new note, bar symbol here, and that indicates that now, when we change the BPM, it's going to Ooh. Adapt its length to the actual new BPM that
we choose, you know? So this is gonna
obviously stretch the audio to the new length
because this is audio. It's not media anymore. So, so let's see what happens
if we go slower. So we can start to
reenable this. Oh. Right? So now this is indeed reacting to
any new BPM input. So we can go slower than normal. Right? Perfect. You know? Or even hyper fast, you
know, where we want. And the quality loss
is not too remarkable, unless you isolate that track, you know, but if
you keep it in the background with everything else, you're not gonna notice
the artifacts anyway, you know, I'll see. Oh, you know, that's it. That's it. Fully free, you know,
to change the BPM. It's gonna always stay
in time now, right? And, yeah. So that's the way to make also the audio events react
perfectly to the change of BPM. Alright? Finally, in
more complex songs, you may need you may
feel the need to change the BPM dynamically during
the song itself, right? So to do that, you
have two ways. You need to simply
go down here and right and create a tempo track. So create this and, yeah, so that's
how it looks like. So this fundamentri allows us to change the BPM dynamically, you know, not anymore, a single choice for
the whole song. So we can simply enable this and make sure that when you
enable the tempo truck, it will actually have the number of your
first BPM, right? So in your case, in our case, the song is actually
169 originally. So make sure that
let me show you. We make sure that we are
at 169 at the beginning. When you enable
the temple track, you may sometimes jump
to your lower BPM. So simply go to the first dust that you see
here in the automation of the BPM and simply
change the number to your actual first BPM. Like this, you know, 169 Nb. And then let's suppose that we want to do
a slow down, right? So simply go, for example, at bar four here, be here after 4 bars. So we place a new dot Lily
like automation, you know, and simply change the value
of that second dot to, in this case, the lower value. You know, maybe let's go
down to 110 BPM, like this. And as you can see, by default, it's going to do an
instant jump of BPM, which is not what we want. We want this to be
a gradual slowdown. So to do that, simply change the curve type to ramp like this, you
know, and that's it. Who. Here. Right? Right? So that's a very powerful tool to make a new section of a song, especially at the end of a song. You can kind of go hyper slow to increase the groove in a
completely unexpected way. Or actually, you
can do your posit. Sometimes in a slow song, you can accelerate to
do a grand finale, you know, maybe going to drama
base, for example, right? We start from 110 like this, all the way up 180. What about that? Like this
full drama base, right? And you can change
the position of this. Hey, let's put it
for example here. Alright. And yeah, let's see. So it's gonna start slow and gradually
accelerates, right? And, yeah, there we
go. Full drum ways. Oh. Right? That's the point. That's the point. So
this is the power of changing the BPM
dynamic in your songs. It's kind of a
complex move to do. Not everyone does it in
their music nowadays, but now you know how to do
it in a clean way, alright?
54. Transpose Everything: There is a way to easily
transpose your entire song to a different tune by simply using the
transposed track, right? So normally, we can transpose everything by
simply selecting like this, and then we can simply go to the transpose section here and then simply
increase this number, you know, by whatever
semitone you want, right? Every single scale as you
know, has 12 semitones. So every 12 is going to increase everything
by one octave, right? But this method is
very risky because we may accidentally screw up everything, you
know, very easily. One safe way to bulk
transposed stuff is to use a transposed track. So we go here, right click. And create a transpose truck. Alright? And, yeah. So just place it
in a better place, maybe here at the top. Okay? And the way it
works is that you simply click on the area
that you want to apply. A transpose A transposition to. So for example, let's
suppose that we want to keep everything original in
the first part here, and we want you to transpose everything up by two semitones, only starting from
the spot, right? So you simply apply a chop here, and here we're going to
transpose by two, right? Two semitones. So let's
see what's happening. So we start earlier
here, let's see. All right. And the
whole mass starts. Alright. So the reason why this is not working
straightaway is because we are transposing some trucks that were
not meant to transpose. For example, the drums, right? So the drums are
not tonal elements, so we need to kind of exclude these from
the transposition, you know, so let me show you. The reason why
because, you know, you need to trigger
different pieces of the drum. That's the point. So to exclude the drums from the transposition
that we're doing, simply select the events
and then go up here, global transpose and change
it to independent, right? And, yeah, you can also
see the confirmation, why, but the fact that all the
events now have this nice icon, and now this is not gonna be affected by
the transpose truck. Let's see, now it
should be back. Ooh, alright, we our
drums back, right? And at the same
time, we're able to transpose everything
else. Let's see. Alright, it's starting to work. Alright, right. And
as you can see. This applies the transposition
to media events and audio events if we really do that automatically for
us, which is amazing, right? And then there is one more
thing that is not working. Chops events have the
same issue of the drums, so we need to put these in independent
mode, first of all, so they are still triggering the right slices that we
want here in the sampler. And we need to change the transposition from the
actual sampler interface. So we go here on the sampler, and in this case, we simply
increase cars by two. Right? So, which is the transverse
system that we're using here. And yeah, and that
will fix the issue. So now, it's gonna be triggering
the right samples and also transpose the samples
tune by one tone. Let's see. Whoo. Yeah. And that's it, you know? Here's and all, and
Alright, right, right. So transposing a track all of a sudden can
be a cool way to maybe differentiate
transform parts of the song that
are starting to be a little more repetitive, right? So you can kind of do a kind of surprise transposition
in your song. And this is a very common
trick in the Japanese music. So yeah, why not integrating some of those tricks
to your music as well?
55. Safe Mode & Preferences Backup: Sometimes you may install a external plug in that is able to destroy
your installation and everything becomes unstable or your projects crash as
soon as you open the plugin. So one solution to
investigate what the cause is is to start
the softer in safe mode. To do that, simply
hover the softer icon, in this case,
innuendo or Key base. Before you click, you hold all show and shift
all at the same time, and then click and keep these
keys of the whole time. Until you will see a pop up. Alright, so this is the
safe mode trigger, right? So you have three
options. You can do this. Click Disable only
disable only return to factory settings for
this specific startup, right? And confirm. Okay, wait a couple seconds, and now we're going to
see the default settings. You know, it's really asking
us everything from scratch, you know, as if we started a softer the first time, you know? Let's see. You know, so it's
really everything reset. As you can see, we don't
see anything else, right? And, yeah, also, if I
start a new project, for example, I go
here, let me show you. It's completely reset, you know, but only for this
specific startup, it means that I can
do my investigations. And then when I'm done, I
close the softer completely. And when I restart it, it's gonna return to my
custom settings, okay? So, the second option instead, is to completely delete
our customizations so kind of reset permtly to
the factory settings. In that case, simply start
this again in the safe mode. And this time, you actually click delete
Program preferences. So this will permantly reset
to the factory settings. And then from there,
you can kind of rebuild your catalog
of plugins, alright? And, yeah, or you can
deactivate the plugins specifically our third party from here from this
checkbox here, right? So these options are
very important in case you have something
that makes your software crash for no reason. And you can quickly investigate and circle
down what is the cause. Finally, in case you
want to be you're going to transfer
your installation to a completely new computer, maybe it's a good idea
to manually backup your presets and your
preferences, right? So to do that in Windows, you simply need to go to the
root folder of your user, then go to a hidden
folder called Apata. In case you don't see
this folder, go to view, show hidden folders,
hidden items here, right? And then simply open app data. And then go to
Roaming Steinberg. And finally, here,
you are going to have listed all the
Steinberg software that you ever installed. So in this case, I'm
going to need to backup New endo 14. Here it is. And yeah, simply copy this entire folder in
an external hard drive. And then when you install in your new computer, in theory, you can simply overwrite the same folder with
this one, right? So this will automatically apply your custom preferences to the new installation
on the new computer, so you don't need to lose time remaking everything
from scratch. And instead, you backup
your track presets, you should go to root folder
of your profile again, then go to documents
this time here. And then simply go to the SinbergFolder,
and, yeah, here is. So we have all the folders
containing our preset. In fact, let me show
you, for example, here, the effect chains presets, we have those here that we
created during this course. Then simply copy all this again in a backup
folder and then write it in the same folder when you install these softwares
and a new computer.
56. VCA Tracks: And the The easiest
way to understand what a VCA track is is think
it as a track that is able to offset the volume of multiple
audio track at once. Kind of similar to a group track or a sound track almost
in a way, right? But the advantage of the CA is that you don't create
any new track at all. You know, each track
remains independent, and the only thing that
you're changing literally the position of the fader of those tracks all
at once, alright? So let me do you an example. We are here, and
let's suppose that we have maybe ten tracks. Let's create ten empty
tracks. Let's go here. Alright. So we're gonna create maybe make 15 tracks,
yeah. Like this. Let's call this
voice, like this. Alright. Let's suppose
that we're making a choir, you know, so yeah, so
we simply confirm. Alright, so we have
15, nine tracks. Alright. And then let's
suppose that we have now, the fader obviously
the mixer, right? Here? And okay. Let's suppose that we have
some situation here going on, you know, we did the mixing of something like this.
Alright, okay. As you probably know
already at this point, there's a way to move
multiple faders at once by holding temporarily
hold plus shift. And then when you select the tracks that you want
to move simultaneously, when you hold those two keys, it will allow you to indeed move all those faders together, which is already
pretty cool, right? But if you want to even
more solid solution, you can assign a CA
to those tracks. So for example,
let's assign it to indeed these tracks
from here to here, right? Let's zoom in. Okay? And simply right click and then add VCA track
to selected tracks. Alright, so select this option. And now we have
this nice guy here. And what this is
going to do is to Lully do the same thing
that the link does, but without having to
press the keys anymore. So at any moment, you can offset those faders straight from
this guy here, you know? And, yeah, each track right now, simply is continuing
its original path. Is not going anywhere
different, you know? So that's kind of the advantage. It's kind of the least
aggressive way to have a mask bulk control on
multiple faders at once. That's what VCA does. And yeah, some mixing engineers love this tool because
it's pretty handy. You can map it to an
external controller, and you go from there. Alright?
57. Signature Change!: Normally, in pop music, each music bar is
divided in four beats. But actually, nothing
prevents you from choosing a different
subdivision of porta bar. It means that you
can do three beats per bar or in some
special cases, five or seven or nine
or 12 or maybe 15, how many you want, you know? So let me show you how to manage that change of
signature in key base. Alright, simply we need to
create a signature track. So go here, right click
and then signature track. Alright. In case
you don't see this, just click Control and you
can do the same thing. I'm going to show
you simply from this window here, alright? Okay. And yeah, I was
just going to see we have the default signature,
which is 44. It means four beats
per bar, you know? Alright. Nothing crazy.
So far, one, two, three, four, one, two,
three, four. Alright. Okay. So far so good. You also have a tempo track
ready to do a BPM change. So so far, we have simply
these beatbx shops going on, you know,
nothing crazy. Alright. So let's first of all, record the performance,
alright? Let's. Let's go. Okay, let's quantize,
have a click. So this performance
was in 18 notes, mostly, so let's go here, 18 and press Q.
Alright, let's see. Alright, seems
pretty much clean. Alright. Okay. Let's also
add some chopping here. Shopper simply, and
let's go. That's good. Alright. Okay. So let's first of all, we
make a BPM change. We already know this
stuff at this point, so let's make a slow
down like this, ramp mode, and
that's ready to go. So to make it a it's supposed that the
song becomes three, four, after this
spot of the song. Alright, so to do that, simply make sure that in
the signature track, you click in the new spot where
the time is gonna change. Like this simply type
the new time signature. So in this case, let's
go to three, four. Alright? So it means that from
this spot on of the song, the bars are gonna
be three beats long. Alright? That's it. And yeah, so let's make a new loop, and we're gonna
record a new part. Let's recycle the beatbox loop. So let's go here. Simply duplicate with old drag. And let's tweak this to the new three
beats bar. Let's see. Okay, maybe let's place
this beat here instead, let's change the signature
to something else, I see. Okay, maybe to something
like this. What about that? Be able to be fluent
to these things. You just need to
repeat repeat for years until you become fluent, you know, in music theory, and this becomes second nature. You know, that's the only
true way to do it, you know. Alright. Okay,
let's go with this, and then we simply
duplicate this new loop. So we remove om, four, 4 bars, and alright. Okay, so let's go something
new here. What about that? Maybe just for the performance or to bypass the chopper, right. Okay. Let me think.
Okay, let's go. Alright, right, right. So you see what's
happening? Wow. Alright, si is happening. So thanks to the time signature. If you know what you're doing, you can create a
completely different vibe within the same song, thanks to the combination
of BPM change and Time signature. You
know, that's the point. Sometimes you simply
change the BPM, the signature for technical
reasons because maybe you're making kind of helps
you execute a performance. So the point is that, thanks to this, you can do what you want, you
know, that's the point. So just a reminder, you can just same thing
by pressing Control T. And yeah, it
58. The Theory of Sample Rate and Bit Depth: And J, we're going to understand
what separate and bit depth are once and for all, right? So real life sounds can be virtually represented by
infinite numbers, right? Because they are virtually a continuous signal,
let's say, right? Whereas, once that sound
gets sampled like this, there is a process called ADC, which means analog to
digital conversion, right? And the separate is fundamentally the process
of representing that continuous real life sound into a finite sequence
of numbers, right? So it's going to look like this. It's going to have a sequence of mini steps like this, right? Forming some kind of ladder,
you know, like this, like this, and then it
goes down, you know, it will never be exactly
like the one in real life, you know, it will go be a little crappy representation
of that, you know? But that's where the
sample rate helps us. So, fundamentally, the higher the sample rate, the tinier, the gap between each micro step is going to be in
the digital domain, and consequently, it's going
to be closer and closer to the actual real life
sound wave, right? So that's the principle
of sample rate. It's like when you record
with a camera, right, a 24 frames per second versus
100 frames per second. You can do those nice
slow down effects with no annoying gap
between the frames. You have a smooth,
slow down effect. That's the same principle. So the higher the resolution, the closer representation is going to be to the
real life sound, you know, without artifacts. That's the point, okay? And these two things
are also intertwined. It means that the quality of the sample rate is also
going to determine how good the conversion back to real life is
going to be, you know, adventure this sound into
our computer is going to be converted back into analog
sound through a DAC, digital analog converter, right? And it's going to
become back, again, a sound wave through our speakers or headphones,
whoever, right? And obviously, if the
sound has been degraded, it's going to never
be given back exactly as it was when it's going to
be converted back to analog, which is why, again, the higher the separate, the closer the representation
of the sound wave is going to single sample in the
end in the digital domain, it's fundamentally a
impulse, you know, that just contains the
information about, like, a fraction of a second
of amplitude of sound. This kind of a tiny impulse. But if you combine thousands
of impulses over time, going to result
into a full sound. That's the point. You know,
they look lily like this. They are tiny little impulses. But if you combine thousands
of those in every second, it's going to create what we hear when we listen to
music. It's crazy, right? And we measure the sample rate with this unit of
measure called Hertz, which 1 hertz means fundamentally one impulse
per second, you know, which is really, like, you
know, completely useless. It's just a macronom
if you hear 1 hertz. I can really demonstrate this concept why going to a cue base. Let's go here. So
as the generator. Alright, maybe, let's
use the in a little bit. So let me show you one thing. Now we're gonna play we're gonna let's play a sound tooth, right? And stick to you
now, we're playing 1,000 1,000 hertz sound. It means that every single
second is gonna is playing 1,000 cycles of this
sound wave, you know? So let's go down to 1 hertz. Let's see what happens.
Okay? Let me increase the volume because
now you probably if you never do this experiment, it's gonna blow your mind. Do you hear this? It's
kind of a heartbeat sound. It's kind of a simple
metronome, you know, that is really sending a
impulse once a second, right? So that's what perts are. You know, it's simply
the frequency of the impulses of that
wave form per second. Alright? It means that as soon as we increase
this number to ten, for example, it's
gonna to ten, right? And the higher we go, the closer it gets to become a full sound. You
know, that's the principle. Let's see. You know, until it should
become a base sound, right? And that's it. And now is rapist and the sizer. You know,
that's it, right? And obviously, this range
is gonna go 20-20 K hertz, which is the audible
range, you know? So, depending on your age, you may not hear even the sound. And the interesting
thing is that the sounds that we are hearing right
now are mostly artifacts. You know, it's not truly
20 K hertz, right? And, yeah, so, right,
so that's great. And the sound the complex sounds that we hear in music are simply a combination
of these four types, these types of waveforms, we have the square,
which does exactly that. It just sends a impulse like that and then instantly
closes itself, goes to the negative domain. And, yeah, we have smoother
waveforms like the sine wave, you know, This very
classic sound, you know? In theory is the
purest sound possible. Then we have the triangle, which is similar to the square, but kind of smoothed out. And the sawtooth which sends
eight instant impulse, and then this stands regularly. And then we have the noise, which just fills
the entire spectrum with random values
the whole time. And, yeah, so welcome
to the music. Alright, that's what it
is, India, you know? Now that we
understand fully what a hertz is, you're
probably wondering, wait, human ear goes
max to 20 K Hertz. Why is the minimum sample rate usually at 44 or 0.1
killer Hertz, right? So, the reason behind this
is because of a mini glitch, let's say, becomes audible around half the semper
rate frequency. This is called NkwiddFrequency. Let me show you a
little scheme here. So it means that if we
record a 20 k separate, in theory, we can do it. But it means that this
glitch I'm talking about is gonna fall down to ten K hertz, which is going to
be very apparent. You know, we're gonna hear
it very clearly, you know? So that's why simply by
recording a 44 rehearse. This dangerous glitch,
let's call it, it's gonna falls down at 22 k, which is pretty much impossible to hear on
a conscious level. You know, the truth is that
it's still there, right? And it's gonna also
influence slightly the frequencies that are
before it, you know? But it's kind of a good
compromise to keep the separate kind of high enough to not make
the files too big. You know, it's kind of
a nice compromise to stay away from that glitch,
you know, and, yeah, so that's, if you want
to investigate more, just search Niquis frequency, you know, like those, right? Yes. Alright. The old console
systems and video games, for example, we're
still recording sounds at smaller sample rates. You know, even eight
K, for example, in Nintendo systems like
this or Playstation one usually is all
in 22, killers, which means that all
these video game console sounds have usually that
characteristic glitch that I'm talking about. You will kind of hear those that glitch in every single
sound effect, you know? And the reason is
because they had to meet certain hardware
limitations. You know, let me give
you a demonstration of the Nikes frequency
at this point. So let's record this
sound at 44 kilohertz. So the glitch I'm talking
about right now is gonna be not audible,
normally, right? So let's see. Fire punch. Okay. Fire punch. Alright, as you can see
the playback is perfect. There are no audible glitches, but let's see what happens
if I use the Bot crusher, which is able to change the separate in real time,
right? Let's go here. And we can have we can divide the separate
by this number. That's all this does in the end. So now the separate is 22 k, which means that the
glitch frequency now is around 11 k. So
let's see what happens. Fire, punch. All right. Fire, punch. Okay? Probably this is
still not fully audable. So let's go times four, divided by four, right? Foyer, punch, right. Okay, now you probably start to recognize what
I'm talking about, right? PoirePunch. So Fire, punch. Think it down now,
it's fully clear. She that those glitches, those aliases,
right? Fire, punch. So the old video
game sounds have all this characteristic glitch because of this limitation. They were recorded a
smaller sample rate. Per punch. And they all have punch
Alias, you know, in the end, what all of this is is
kind of a series of frequencies that
kind of bounce back, kind of fall back into
the audible spectrum. That's what this
type of alias is. And nowadays, we solve this by simply
increasing the power over our samplers so that these frequencies
are still there, but they're simply not audible for our ears, which
is good enough. Now the biggest question of all, you're probably wondering
when should I use 44 k versus 48, you know, when
sampling your music, well, these are simply two
different targets by the book. You know, 48 is the
standard for video, right? Whereas this is the
standard for CD music. You know, I also depends on what you're
going to do, you know? So, unfortunately, most people
don't have a double system that allows you should
natively record the same material
to different samp. It's kind of a super
expensive system, in that case, right? So, it means that you need
to make a choice, right? So if you prioritize
the audio file, record the 44 K. Alright? If you prioritize the video that you're going to
do with the music, record natively at 48 K. That's all it is. You know, if you want to keep it
simple as a choice, just ask yourself
these things, alright? Because it's gonna
never be perfect. I can grant you that
even if you record 48 K and you make the music
video, that's perfect. But then eventually
you're gonna burn the sound file into a CD. For some reason, maybe
your song blows up and you should master it also for a CD. And you have all the
material recorded at 48 k. So it means that you're going to deal with a sample rate conversion
error, alright? Which is fine. You know, it's not gonna destroy your sound. You know, Your music is going to be judged
for other reasons, not for the sample rate
conversion, you know? But if these technical things
are important for you, just ask yourself this question before you make your
music, you know? So if you prioritize
video, record the 48 k. If you prioritize the
full quality audio file, record the 40 44, you know? Then if you wonder
what happens when you convert a 44 K to a
different sample rate, when you convert a 44 K
sample file into a 48, every single sample
is going to be rearranged in a
weird way, you know, kind of completely
uneven, you know, so these are our original
sample, let's say, okay? So when you convert the file
into a 48 file is going to place every single sample in a slightly different
position like this, this is going to go here,
this is going to go here. And this process is going
to mess up, first of all, the amplitude to peak of your music, so
it's going to clip. And there may be slight Alicis forming on a micro level into your
waveform, you know? So it means that forunally
there are advanced sofas like Isotope RX that are able to convert to even separate while also fixing the clip that gets formed by this
uneven conversion, you know, but it's kind of
advanced expensive software if not everyone has it. So there are ways to fix this
in an easy way in the end, but it's preferable not to
do this type of conversion. You know, it's not
going to fix your file if you simply do the conversion, you know, within the Q
base, where we want. Same if you go down 48-44. Alright, so don't worry about
that in the end, you know, keep your peaks a little lower, so it's going to compensate this issue in case
it gets converted. This issue doesn't exist in case you even semper rate conversion. So, in case you go from 44, for example, 88 K, down to 44, in that
case, it is perfect, because you have initially
ADA K samples, you know? And when you convert to 44, it's simply going to bypass
one sample at a time. You know, every order
sample is going to be simply
bypassed, turned off. But there is no repositioning of the samples in this case, you know, when the
semporate conversion is even, that's green light. That's perfect.
Alright? Now that I just mentioned,
I will separate. You're probably wondering,
well, if my sound card can record at 190 2 kilohertz, why should Should I record at separate instead of
this small number 44.1? Well, the answer
most likely is not. So the only real useful
application of recording at this super high
sample rate is, in case you already know that
you're going to slow down, hyper stretch your
music a lot, right? So, and really take advantage of those extra samples that
represent your sound wave. You know, if you're
going to stretch your music a lot, obviously, having these extra
samples is going to be an advantage because
you are going to have all these extra steps. You can sleep good at
night because you know that even if you stretch
your music a lot, right? It's going to still
have a low resolution, so you have a zero
alias, you know? Whereas if you know your
music is not based on hybrid stretching or it's not kind of a super audio
file situation. You know, it's fine to record
at 44 and keep your files, all your wave files
four times smaller and use four times
less CPU power, right to process all these
files in real time, right? Be careful on all
these considerations. Use super high, separate only
four specific situations where having all
these extra sample is going to
technically help yeah. For most people, this
is everything you need to know about
sample rate, right? So now, let's talk about
amplitude sampling, right? So far, we talk
about the sampling in regards to the time, right? So, which is the
frequency of the sounds. But we didn't talk
about the amplitude, which is the vertical domain, you know, that goes
like this, right? So the amplitude is it's going to also be sampled by
our microphones, right? So, and that becomes a value
called Bit Depth, right? So let me show you. So
most music is 16 bit, which is kind of a
nice, sweet spot. Grand kind of gives you around
96 dB of dynamic range. So the dynamic range is
the range between the quietest and the loudest sound that you're going
to record, alright? So the truth is that
it's never going to be exactly 96 DB because every microphone has this
so called noise floor, which is going to it's
going to kind of subtract. It's going to reduce slightly the real dynamic
range of your music. You know, it's going
to be probably maybe around 70, you know,
something like this. Depends on how quiet
your microphone is. But after all the
processing, you know, the true dynamic
range of a song is gonna be way lower
than 96, you know, unless you make it
completely in the box, you know, without
true microphones. So in most situations, most people are
going to end up with a lower dynamic range
than 96, alright? So you're probably wondering
what the hell is bit? So bit is simply a
mathematical equation, which is, the number two, elevated by a number. So bit is going to determine
the bit depth, you know? So when we talk about 16 bit, means that it's elevated by 16. So to the power of 16, which means that
we have a total of 65,000 numbers to represent the amplitude of your
sound wave, right? So that's what this
all means, right? Old systems in video games
used to be actually way lower. I see, yes, they were
around eight bits, for example, if you talk
about Nintendo, right? So, in that case, it
is a very low number. It's actually only 256 values to represent the
amplitude of your sounds, which created that
characteristic compressed, distorted sound
that we all know, right? Let's do an example. Let's go to QBse. So we are now here on our amazing
sound, alright? So let's go chew a
standard 16 bit, okay? And let's go back to normal saperate so right now,
this is the normal sound. Fire, punch. Hey fire. So watch carefully what
happens if I decrease the bit depth gradually
chew eight bit. Fire, punch. Fire, punch. Hi. Okay, no much changes, which is surprisingly
incredible, right? So, most sounds, even at eight bits are still gonna perform pretty much
fine, you know? But there is something that
is really starting to happen. The lower the bit
depth of a sound, the more the noise floor is gonna be closer to the
actual sound, right? So, it means that we're
gonna start to hear the sound more and
more distorted. Fire, punch. Fire. Alright, you see
that distortion. Punch. Kind of starts to burn, you know? Fire, punch. Oh five. Fire, punch. Fire, punch. Alright. Punch. Yeah, it's also kind of gating the
sound in a funny way, right? It's kind of gating the sound automatically, which
is interesting. Coy go lower. Corbit.
Punch, right. Fire. Punch. Now it's fully apparent. You
see what is happening? Hoyer. Punch. Right
now, we have, like, around 128 values, right? Two to the power of four,
even less than that, right? To represent this sound, right? Punch. Go even lower. Let's go to tube bit. He. Alright. So the reason why
this sound became like this. He? Is because now there are less than two
to the power or three, less than 16 values to represent the amplitude
of this whole sound. Which makes it?
Which kind of forces the dynamic range to be averaged in this garble, you know, that
way you here, you know? Here. Y. And, yeah, that's that's why the old video game sound
fat sound this way, you know, because they were
simply recorded a very, very low bit depth and
separate, as well, right? Separate right now is normal, but it was also Puna
factor. Let's see. Heron. No. Her. This is
more like it, right? So the old Nintendo systems
sounded like this, right? And, yeah, it was simply
a hardware limitation. You know, it was really
all this stuff here. And yeah, so let's go back
to our nice whiteboard. So the reason why
nowadays 16 bits is the minimum acceptable bit
depth to make decent music is because it grant grants you a big enough dynamic range to make amazing music that
is very dynamic already. And that's it. You know, if lower than that,
you can do it. But as a creative
choice, you know, for a specific sound
design style, you know, but never for the actual file that you're
going to ask for. And finally, this point, you're probably asking
yourself, well, my audio card says that
it can record audio at 24 beats or even a 32 bits. So which bits depth should I use when I record my
sounds from real life? So, the answer is 24. Alright? So 24 is a sweet spot. 32 is never 30 shoe. Unless you record with a
very, very expensive system, you're probably gonna have a
30 she bit recorder, right? So 24 already gives you two to the power 24 values
to represent the values, which is around 16
million values. So it's a huge jump compared to the 65 K values of
the 16 bit, right? So it's exponentially
better than to represent your
sounds when you sample those compared
to 16 bits, right? Most audio recorders, nowadays record safely a 24
bit very stable. 24 is the name of
the game, right? System systems have 32, which, in theory is even better. So just I mean, by all means, verify with the manual,
your audio card. Maybe they are using
a 232 converter. And in that case, yeah, use it because you guys
going to give you billions of values to represent your audio
car, your sound. But the truth is that
once you reach 24, all these aliases are going to be impossible to notice.
You know, the point. That's the point. And it's also the reason why
when we go back to QBs the highest depth that
we can give here is 24, because this also knows this. You know, 24 is kind
of the sweet spot where you have so many values to represent the
value, it's fine. You know, you press shifts
in your project and, let's talk for a
second about 32. Floating point. Alright? That's going
to be a mind blower. So when we record
in wave format, we're allowed to use a
special bit depth called 32 float or 64 float
more recently, alright? So 32 bit as we know, is two to the power 32, but what the hell
does the float mean? So floating point
is fundamentally a way to expand the
number of values to represent your waveform
from a limited number to a virtually unlimited
number, right? So I'm now going to go into the exact technical reason because you don't
need to know that. But just to know that,
that's what it does. It cannot expand the range from a limited number to
a infinite number. Alright? Which sounds
amazing, right? So it means that we
have infinite dynamics. Well, actually, that's
not entirely true. That's true only when
you record in the box. So when you use, for example, the loopback feature, right, that some audio cards have, or if you synthesize sounds, and you can record
the sound coming from different sounds into
key base, right? In those cases, you
may take advantage of the true infinite
dynamic range of the three bit floating
point, alright? In all the other cases, when you record from real
life, you can forget it. You know, unless you, again, a special expensive system, but it never truly floating point when you're
recording in real life. It's usually just simply samplers that record
the same sound. And one of those has kind of
a volume gain attenuation, and they kind of self
compensate each other. When the first one flips, they can always give you
a clean sound, right? But it never exploding
point, you know? This only makes sense when
you record your sound from within the softer which is sound not everyone does,
you know, that often. You know, it's kind
of a special case. So, again, 24, if you stay
I sleep good at night, record at 24, and
that's fine, alright?
59. Recycle Tracks From Other Projects!: And the one of the most powerful features of
QBs is that you can recycle easily tracks from
another project, right? So let's suppose
that we are here on a blank project and we want to recycle maybe a audio track
from another project. So we go here, file, import, tracks from project. That's what we
need. So this will simply open the dialogue
with all our projects. And then, yeah let's go to, for example, this project
file here. Double click. And it will open a
nice dialogue showing exactly all the tracks that
are in that project, right? And we can select which
one we want to import. And we can select
the type of import. Right? We can import simply the
bare event of those tracks and instruments or we can carry also the
channel settings, means that we carry
the effects, right? Or also even the automation. We can choose to import those in a relative
position in case you are working on a music project or absolute position in
case it doesn't matter. So, let's see what happens. I a couple seconds,
and that's it, right? And then we can simply continue our project
from here, you know? Remix, recycle, those things
in a different way, right? We can form transpose this
guy. Yeah, that's it. Christmas Christmas. You know? That's it. That's it. You know, and then it's complete
to we fun, you know? So, enjoy this amazing feature.
60. How To Export Every Track At Once: You want to export
all your trucks of your project as a audio file in order to send those
to a mixed engineer, so they can simply drag and drop all your audio files
into their own D, right? You can mix it in
maybe pro tools. Make sure you select everything. Obviously, like
this press P should select all your files, events, maybe leave some tail like this and then simply go
to file Export. And then go to. How
would you mix down? Then select multiple,
first of all. Alright? That way, we can select exactly
all the tracks that you want to export
separate files, right? So in this case, we're gonna
exclude baster, right? And then you can choose the
naming scheme from here. You click this nice gear button. And for example, we want to
include the name of the track in maybe simply its
number, it's index, right? So we leave simply very
simple like this, alright. And yeah, then confirm. Then we choose a folder, in this case, that
this folder is fine. And then we choose the format. I recommend exporting a
wave 32 bit floating point. So like this, simply copy
my settings, you know? And then you're
ready. Simply export. Click Export W a couple seconds, and now it's exporting every single track
as a separate file. Indeed, we can verify it.
Let's see what is happening. So we go now here on
our mix Down folder. Let's see if that's true. Fourth. Alright. You see? Now we have every single track separated as a
file, full quality. And, yeah, it's ready
to be to be sent over to a mix engineer so they can mix our amazing
music. Alright?
61. Automate Multiple Exports: Now suppose that you want to do multiple exports in different formats,
different ways, right? So instead of doing
those things one by one, you can simply schedule those
in a long queue of tasks. So you can simply then
exit all of those at once, and he'll leave the
computer, right? And that's it. So to do that kind of stuff, you should go here, go
back to the export window. And let me show you here. If you go down here,
there is a nice feature called export Queue, right? So we open this guy. Let's enable the single
export mode for now, right? And let me see if I can show you because the screen
is a little small. Let's suppose that once you do a first export where we simply
include the master, right? So we call this
master ready, okay? And we say, Alright, so this is gonna be exported maybe in a compressed format. So, let's say MP three, like a quick preview, you know, 56 kilobytes per seconds. All right. And then we
say, Okay, you know what? Just put it in the queue. So click this button
here. Add the cue. Boom. Alright. Okay, so that's
already one task. Alright? Then we say, Okay,
then after that, export this a second time, but in full quality. So wave 30 load, 44 kilohertz, and add again. Boom. Alright. Then we
say, You know what? At this point, let's
export simply the drums. As a flag file. So we go here, flag 24, and finally press Add
to Q again. Alright. Alright, so as you can see here, in the Export Queue, we have three files in the
queue, right? And, yeah. So at that point, when all
the files are ready, right? So you can kind of double check all the tasks you
don't here, right? So you can double check
exactly every single export that I'm preparing, right? And, yeah, you can
encase add to those, and only when you're
ready, you can simply execute those let's see. And then you can
leave the computer going. You see what's happening? Yes, yeah, so that
way you can kind of schedule all those tasks, right? Run one after the other
without having to manually reset the exports,
you know, see if that worked. Wow, I still happened, our files here. We did you go. Alright.
62. Logical Editor: Sometimes you wish if
there was a way to execute a specific redundant action on all your events of your
timeline or your tracks, routing section, what we want. So the answer is yes, you can achieve those
redundant bulk actions changes through the
logical editor, which is a very niche tool, but it's very powerful. So let me show you what I mean. So let me go to
access this tool. You need to go to the project. Logical editor just down here. Then you can First of all,
let me show you the Breeze. So you can simply to
understand what this does, just explore the preset. There are already so
many cool presets, that allow you to
change in bulk, many aspects of your
event in the timeline. For example, let me
show you you can apply some changes only if
certain conditions are met. You know, for example, delete muted tracks or delete
empty tracks, right? So for example, let's suppose we completed our song
but in the end, you know, we have ten
tracks that remained empty, you know, kind of
sparsed around. I'd be very annoying to
kind of trace those back, you know, manually and
delete those, right. Instead, you can simply pull up the logical editor,
right, like this. And yeah, and then
simply click Apply and who.The empty tracks
are automatically gone. Alright? So that's what the
logical editor is, you know, so at this point,
let me show you how I use the logical editor
in a practical way. So sometimes in my
trucks, actually, often I route all my trucks
through a submaster, so I can apply some kind of overall effects
for everything in a more flexible
way compared to do it on the actual
master of my truck. So we have submaster and
master, first of all, right? So the issue is that sometimes
some of my tracks maybe because I forget it or
I simply go too fast. Some of my tracks, I forget
to route to the submaster, and they go straight to
the master instead, right? So one co use the logical
editor is to automatically find those tracks are going to the master and simply re
route to the submaster. And yeah, and that's
it. You know? So to that, let's see
how we can achieve it. So we go to the project, which I don't find as always. So let's go here, product here. Logical editor
setup. First of all, if you have the basics
of programming language, this is going to be very
easy to understand, right? So this that you see up
here is a if condition. That's it. So here we define the condition to meet, alright? Then down here, we choose the
action that we're going to execute on those tracks that meet these conditions.
That's it. You know? Alright, so first of all, we
know that we're gonna target only the tracks that are going straight to
the master, right? So that's already a
condition that we can set. So you're here and insert. Alright, so we know
that the output name of my target tracks is going
to be equal to master. So we type Master. Alright. Okay. All right, so
that's the first condition. And then we need to exclude any other type of tracks outside of audio
and media, right? Because this issue, in my case, happens always with those
two specific type of tracks. The groups don't need to be re routed by mistake and
anything else, right? So we can specify
that from here. So we add a condition for
the media type as audio, and that's good, and a second condition or like
this media type medi. Alright. So let me just
show you what is happening. So we're going to
target the tracks that are routed to the master, and only the tracks that
are either audio or medi. You know, that's it. So, again, if you have the basics of programming
language, knowledge, understanding this is going
to be pretty much easy, you know, Alright, and
this is our condition. So now let's set up the action. So we need to reroute those matched tracks
to the submaster. So we go here, action,
track operation. And connect output. And finally, let's go here, yeah, we simply want the actual
target that we want the actual channel that we want these tracks
to be rerouted to. So in this case, submaster.
And yeah, that's it. And then make sure that
you change finally this modificator
here to transform. So if you simply select select and the select is going
to do exactly that. It's going to simply select or deselect the matched tracks. Instead, when you actually
apply this action. So in this case, change
this to transform. And if everything has been
set up correctly now, when I press Apply, this track and this track, should be rerouted
automatically to the submaster. Alright? Let's see
if that's true. Alright? Three, two, one. Four. Alright, I worked. You see what's
happening? That's it. So imagine how powerful this is gonna be on our true song, where we have usually
tens of tracks, right? So this, in my case, solves this issue instantly for all those thousands of
tracks all of a sudden. So yeah, so I hope that this example is going
to be enough to make you understand that this
tool is very powerful to kind of solve issues in bulk. That's what it does. Alright?
63. Internal Reamp: Especially for
people that like to experiment live with live
modifications of a sound, you may have the need to record live the results
of your experimentations, right, as a simple
audio file, right? So to do that, you can simply create a empty new track.
And let me show you. We're going to
record, for example, some of the modifications that
we do on this instrument. Right? Suppose I want you
to record the movements that we do manually on
this parameter here. Wow. Right? So to record that stuff, one way is to make it
become automation, right? And then we need to
export it, right? But if you like to
kind of render this in real time and save it as
audio file, you can do it. So simply go here. New audio track, and choose the instrument tracks
the input. That's it. You know, it doesn't
matter if it's audio or instrument track. This method will work, especially if you have
to base 14, right? And, yeah, so just connect
this and then let's go here. Let's call this track Ramp. So, technically, this
technique is called Ramp. At, that's it. So now we simply
record like this. So simply as if you're
recording a track. See what's happening?
It's saving the track in real time.
It's crazy, right? At? Now you're here. We open the interface
of the instrument, and we experiment. Alright? Alright. And then, obviously,
when we stop, we will save what we did live on that
Instrument, that's it. So then we can simply
solo this stuff. Alright. That's it. That's it. So, the advantage is that
we can then chop this and then treat it as
a offline sound. We can chop it, right? So
we can do what we want. That's it. That's it. So,
so have fun with this.
64. Control Room for Advanced Monitoring: Alright, so the control
room is advanced part of the mixer that is only accessible if you have based
throw or nuendo, okay? So, the coolest let me show you first of
all, where it is, right? So let's go to the mixer.
And so it's this guy here. So, in case you don't
see this column with all this nice stuff, make sure that you press
this nice button here. And yeah, one of the most
useful features that control room gives you access
to is the Listen button, this nice button here. So for the whole time
in this whole course, I've been using the M, the mute, and the S, the solo, and the E, which allows us to see the
channel settings, right? B for the whole time, we have this fourth button
called Listen. Alright? So, this button works only if you have
the control room, right? Let me show you how it works. So let's suppose
that we have a song. All right. And let's suppose that I went
to record a vocal track. So we have now an
empty track that is connected to my
audio card, right? Suppose I went to record, right? But I have the issue of having this whole instrumental
very high volume. So I cannot I struggle to
hear my own voice, right? So it would be cool to
quickly be able to put this track only in the
foreground so I can hear my voice more easily
while I record and then restore later
the normal balance of volumes in the track. So this feature is
fastibleTks to listening. So if I go here to the fader of the voice and I
click the Listen, let me show you. Woof.
You see what it did? Right now, it kind of attenuated everything and left
the voice untouched. So that way, I can record my
voice more easily, you know? No right? So, and this also works
just for listening something by putting everything else in the background
compared to that truck. So again, I want you check
how the voice is going. So I simply gosh
feeder and then press. Let's see. Woof. That's it. Right? So, it means that I still hear the
rest of the truck. It's way lower volume. Right. And you can
tweak the amount of this attenuation by
going to the control room, and it's just here. So make sure that you press CR and then go to the
main tab here, and it will show you
all the main controls. And the attenuation
amount is determined by this nice guy
here. Listen, them. Okay. So as you can see, it's decreasing
everything by -18 DB when I press the L
button on a track, alright? So suppose that this
attenuation is too much. So maybe you want to restore
a little more background, maybe minus two el,
minus nine. Let's try. Yeah, we start to hear more
of the background, you know? Obviously, if we go to zero, we zero attenuation, right? So it doesn't make sense. So we can tweak. How much Background track. We want you to live, you know? Let's try -12. See
what is happening? That's it. That's it. Then you can start to tweak the
volume, right this, right? Then go back to your main track. Right? That's it. That's it. Let's make this track
a little more bright. Alright. You know? So anytime
I can solo any track. Without completely muting your pieces of the
song, you know? This is very powerful
thing to keep you immersed into
the music, you know? That's it. That's it. So I can solo I can enable
to listen or anything else. You know, I can put the
foreground wherever I want, you know, the drums right now, you know, I really
works, you know, control click on the track to instantly put
it in the program. For example, the ensemble. That's it, right? So, so this is one of the reasons why the control
super useful already. Simply just for this feature alone. You know,
it's crazy, right? Then let me show you one
thing. We don't have any limiter here on
the normal master, and yet it's red. So you should have
clipped terribly so far, right? But it doesn't? Well, the reason is
because the masters when you enable the control
room, fundamentally, there's an extra
master knob here and also has its own
insert chain here. So we can look inserts and
that's it. That's my trick. I actually have a brickwall
limiter on the control room. The advantage of this
is that these settings here persist in
all your projects. It means that you can simply
set this up once, you know, no matter what you
do in your projects, there will always be a
safety limiter here. So for safety, it
will never clip. Even if here, it will go over zero. You know,
that's the point. But the way, remember
that when you export, indeed enable a actual limiter
here on the master, right? So everything that you place here is going to be
just for the listening, okay? Let's go back to control. So you can see, we have
also the control for the panning of the click and the volume of the
click, so we can tweak. Right? We can right? Sometimes the click is not audible because
it's very loud. You can boost the volume
from here, right? Or click. Or less, you know? Suppose that you make a very standard
part, you know? You don't need that much click. Just keep it very light
in the background. You can do it from here.
Simply trick the volume. And the panning in case. So you can put it on
the right, right? Be careful, yeah. So let's keep it around minus six
for now, yeah. Okay. And yeah, that's one thing. Let's go for second here. There's an entire
section dedicated to metering signal, you know? So it means that you
don't need to use external plugins to measure
the loves of your signal. You can simply do it from here. First loudness. And that's it. We have all the
metering that you want. You know, we have the
loves, the short term, a true peak is very important. And, yeah, that's it.
So just all this stuff and you're ready to
go, right? Shut up. And the cool thing is that
this is going to measure the actual true loudness
after everything, right? Means that you can
place effects. So if you're doing
mastering, you can place effects here on the master
of this track, right? And this meter is
after this fader. It means that it makes sense. It makes the actual analysis
of loudness that we need. And one of the most
powerful buttons here, finally is the Tk back. So let's suppose that you're recording you're on a session
with a singer, right? So you can hear
their input voice coming from one of
the channels here, right with the
monitoring, right? And you want them to
automatically be able to hear you easily when you pause
the music or even not, you know, even during
the playback, right? To do that, you need to have at least an additional
physical input on your system, and then you can connect
that physical input in your input list by going
through a four, right? Let's go to our list. Go to control room. And here, as you
can see, we're not using the output from
the output sphere, but from the control room. So as you can see I'm using the output driver
on the monitor. Here, right? And then, as you can see, there's
an input called talkback. So here I can use my second
input, for example, right? So I can do this. Input
number two, right, which right now
doesn't have anything, but suppose I had a
second microphone, right? So the first microphone
is going to go to the singer in a
different room, right? The second microphone is
a secondary bike that I use to communicate
with the singer, right? Because sometimes they may be on a completely separate room, right, with a plexiglass, so it's going to be
impossible to do that. Unless you know the
language of signs, you need to be able to talk
with them with ease, right? And that's the way this is done. You simply connect
the second mic for you for the mixed
engineer, you know? And then you simply go away
from here, and that's it. It's going to appear here
as a new mic, right? You regulate your volume, and then to talk
with the singer, you simply enable
this button here. Alright, so when you
press this button, it's going to
attenuate completely everything as if
we use the listen. And obviously, you
can tweak how much is gonna attenuate the music
when the talkback is enabled. So you can really
see here, alright? So it's really,
like, the listening, but you enable this above everything,
you know, that's it. In fact, right now, the voice
should sound way quietly. See, I become super,
super quiet, you know? And you can enable this manually simply like
this with a toggle, right? Obviously, if you can set
this up in the settings, um, so that this automatically gets activated as soon as you
pause the music, you know? But in this case, I like
to have this manual because I don't always need to talk with the
singer, you know? And, yeah, so also depends
on your situation. Maybe you have a
physical controller, you know, like a
physical button, right? So you can press that one and you already talk with a singer. Also, there are some audio
cards that have already a mini microphone that it's good enough to communicate
with the singer straight. You know, press that
button, talk back, and that's it, you know, so you don't always
need to talk back. That's the thing,
you know? But, yeah, now you know that
there's this picture. And finally, here,
let me show you you can set up down mixed presets. It means that right now we are listing the music in stereo, you know, left and
right channel. But we can also downscale
Mono instantly to double check how it sounds in Mono without using any effect. Simply click this button. And now we're gonna
lost it in Mono. Right? That's it. That's it. You know, I can go back at any time,
like this. Click. Right? So here, again, you know, sometimes physical
audio cards don't have a native mono down
scaling button. So you can set
this up from here. You know, create your submixes. And finally, if you go
to the inserts here, you can dedicate
an entire chain of effects for your talkback
mic, which is pretty cool. And also in case for
the listening monitors, which is kind of not that
use none that useful. Maybe just to invert
the phase, right? I don't know why you
want to apply effects to the entire mix from here,
maybe just to invert, you know, texical
things, you know, maybe you can use this
effect here, mix or delay. Which is a very technical
effect where you can maybe simply invert
the pace like this. Or you can delay the
output because maybe you're using many
speakers and you want to compensate some kind of
real life phenomenon, right? You can do that from
here, you know? But aside that, I would not apply effects on the monitoring, you know? So let's disable this. Finally, according to
which audio card you have, you may have
additional features. So you go here studio and you may have this
audio hardware setup. This becomes available,
especially if you have a native Steinberg audio card. So it gives you
some nice features to enable the loop
back in case you want to be able
to quickly record something from outside,
K base, right? And then you can enable a physical high pass for
all the signals coming in. And you can trick
more tactical things, or you can also set up
a listening effect. So this is a reverb that
I can assign just to the monitoring to
kind of feel more immersive when I monitor
my own signal when I sing, you know, and then you can also have extra rack here
called hardware. So if you click this and
you go to the input here, you see that we have
additional features, so we can enable the high
pass I just talked about. We can check if the phantom
power is on or off. We can invert the pace,
but most importantly, we can use a DSP of the card, which is which is
kind of fundamentally a CPU inside the card
that uses its own effect. So it doesn't use CPU on the main computer, which
is good, you know? And we can enable the effect just to listen more
immersively my voice. For example, I can enable. This, right? And it gives me some nice effects here,
you know, some compressor. And so that way you can listen
my voice more bright and more loud like this by
enabling this nice checkbox, this nice knob and
increase the gain. Right? You see that now, my voice becomes more
compressed, more clear, right? And I can choose to simply
listen my voice this way or actually make this compressor be part of
the actual input signal. And that way, it will be already compressed when this
is recorded, you know? So sometimes when
you don't have time, this may be a good
option to already pre process a song in
a good way, right? And as you can see, I can use the reverb amount as
I just told you, Ooh. You know, that's the point. Right? So when I sing, I can feel more immersed. That's it. I can
open the settings of this mini reverb, you know? But these are kind of features
that are available only if you have a Sinberg card,
usually, you know? But, yeah, it's kind of cool
that you have these things. And this is not using
any CPU on my computer. That's the cool thing. It's all just inside the audio card. Alright? So enjoy
the control room.
65. Mediabay (Samples Browser): Media B is a special
folder that allows you to quickly import samples from a specific folder at any time, you know, and you can
use it very quickly to make remixes or
make productions. Alright? So do
that initial press at five in your que base
timeline, like this. And yeah, here is. So
here first fill filter the type of file that
you're looking for. Most likely, you're
gonna need audio file. So simply click audio
here, and that's it. You know, you can
simply preview A file, you know, you can
choose the volume of the preview, like this. Maybe it's too loud, so
just decrease it from here. Where did
you go, you know? The number of available files is going to depend on which
version you installed and which content you installed when you installed
the software the first time. As you can see
right now, we have about five K files, avable. And yeah, so that's probably enough to make
any song you want. So you can also
filter by search. You know, maybe I
need some snares. So you can also navigate
with up and down arrows. You can see it's very
quick, very active. All this is installed with
Nuendo when I installed it. You know, there are many tack up contents or obviously
you can synchronize a custom folder
that maybe contains your own samples that you downloaded from
somewhere else, right? So in case you want
to synchronize your custom folders, instead, initid first enable
the right area of those meat of the
media B from here. And yeah, simply
here, as you can see, we start to see a explorer
with all our folders, and then simply
add a new folder, and it will automatically
read all the wave MP three files in that folder that you choose that you
check on that way, and it's going to
add those here ready to be searched at any time
very quickly, you know? And then obviously,
when you want to use one of these samples,
you have many ways. You can, for example,
drag it in into the timeline straight
here. That's one way. Or you can double click on
the sample that you like. Ooh, madly, make a new track containing that
sample specifically. Or you can select multiple samples at once
and drag those all in here. Right? One track or
different tracks. No problem. And we need
to copy or converse. In this case. Boom, you know? And then from here, obviously, you can keep those
in the timeline if you'd like to do manual work, or you can play them in a
nice drum track, right? So we go here, create
an empty drum track or a group agent session
where we want, you know? So let's put them in a drum
track, for example, here. And then select all your
samples and drag those, in your nice dram
track like this. You see what's appening? I
will automatically occupy all the empty samples lots with these samples individually,
and that's great, right? He the tom is all high. Maybe you to reduce the
volume of this a little bit. Alright. Lower end,
yeah, and that's it. I'll work From here. You know? So, as you can see, it's very snappy, very
quick as a system, right? So it's kind of an
immediate way to quickly navigate your files and
import them all in one place, all from base, so you
don't need to leave your software when you make
music, which is great, right? You can kind of play
already the file. Kind of loop it automatically
pressing this button. And then you can
check, you know, how it sounds like
at different speeds. For example, like
this, you can kind of prestretch it to evaluate
how it's gonna sound like. Or if you like, you can enable
the tape machine style. It's gonna obviously change
the pitch, as well, right? You know? So you
have many options. And, yeah, that's it. Have
fun with the media bay.
66. Sync an External Midi Step Sequencer: And the Let's
suppose that you're using external step
sequencer that is able to play your instruments using
their own internal sync, which means that they have
their own BPM, right? Or you want to
make those devices subject to the Q based
internal sync, right? So let me show you how
to deal with that. Right now we have a device
that has a step sequencer. It's called Artia, right? So it's just right now
it's simply in free mode, it's simply playing
a sequence of nodes on my simply it's
simply connected, you know, the USB cable, right? It is simply playing
nodes repeatedly. Let me show you. Let me
just open the filter. Alright, nothing crazy, right? Just something else, okay? So right now it's using
its internal BPM. Which means that I can change
it simply from the device. As you can see right
now is 223 BPM, right? So this is the internal
BPM of my device, okay? So I can change it simply
with a knob, obviously. Right? So it becomes
slower and slower. I can use my tap temp
where I want, you know? You know? Okay, so but suppose that
want to make sure that this device actually is fully synchronized with the
timeline of my c base. That way I can easily record
part already in time, right? So to achieve that, even before doing
anything on the software, you first need to make sure that your device is set up correctly means that sometimes especially on more expensive devices, there is a software
or hardware switch that you need to change in
order to tell the device. Okay, I'm going to give you a external sync signal, right? So in this case, this
is exactly my case. I have some pins here on the back of the device that I'm going to change to tell it. Okay, I'm going to use
external sink, you know, because it's going to
receive the signal, the sink from QBs now, right? So now my device is already expecting now external
sink signal, alright? So, at this point, let's go back to QBse and let's go here to
the transport menu. Project synchronization setup. And then here, just
change destinations. And if your device is
already detected correctly, if it's already installed
in your system, you're going to see
it here already. And yeah, so let's just use Clock destination and
Minit code destination enabled for my device. That's it. Simply confirm. Okay. Let's see
what is happening. Alright, as you can
see now, first of all, the device is not playing notes anymore because it doesn't have autonomous internal
playback system now subjug the timeline
of QBs, right? That's the first thing.
And to make it play, simply press manually the play button on
your step sequencer, and actually should
work, let's see. Alright. Okay, now it's working. But now, the BPM should be
the one I have on my base. So right now my
project has 160 BPM, which is exactly
the number that I see here on my device.
Right. It's crazy, right? So now it's fully synchronized. That's green light, you know? In fact, my BPM change knob on my physical device doesn't do
anything anymore, you know? And which means that no, if I play the click, should be in sync with
the matron, let's see. And actually, it isn't
because there is a slight latency built up between in this
process, you know? So it's kind of a normal
latency it's kind of unavoidable unless you delay your entire signal. It's fine. The point is that now,
the performance is actually at actually
160 BPM, you know? By the way, It change
the metrics of this project because the pattern right now is in three fourth. So when you change
three, four, all right. Okay, now it should
be fine. I'll. See. Okay, let's see. Mm. Alright. There's
a slight delay. What for the most
part, it's fine. As you can see, there's
a very slight delay. But it's normal, you know,
that's the way it works. So let's make loop and let's
record, alright? Let's see. Okay. One, two, three. Two, three, four, five, six. Alright. Okay. You see
what is happening? Now the noes are pretty much in sync. You
know, that's it. You know, achieving this using the internal clock of your advice would be
extremely harder. That's the point,
you know? And, yeah, so and then you can simply quantize these a little
bit, and that's it. You know, let's go
here. Boom, boom, boom. And we have our nice
performance on time. That's it. Alright. Then make
sure that you disable the playback on
your device so it doesn't go in conflict
with the nodes. And then you can continue
to work. And at anytime, you can simply
continue to design new pattern on your step
sequencer, right, in real life. For example, now, change the
pattern to something else. Or maybe I can
change the matrix. You know, all the
other features of your step sequencer
are still intact. Just the BPM is not
vaable, you know. Alright, I see. Sart to record. You know? Ooh. You know, let's see,
and then you go here and just quantize
all this stuff. And yeah, and then
you can have fun with this stuff, you
know, that's the point. So it's kind of a good
compromise because it keeps your step
teamster ready in time, and you can change the
BPM at any time, right? Let me show you if I change the BPM in my project
while this is playing, it will be following this BPM that I choose
here in Cubase, you know? You know? That's it. That's it.
And then you can go back to that menu I
showed you here to kind of customize the behavior of your step signature
by enabling or disabling these additional
chat boxes, you know? But to make it just work in
a standard default setting, simply enable these check boxes. One and, you know, that's it. And yeah, and then
at that point, you can use this to
record or simply for performance purposes, right? Because maybe you
have some stuff in your project that
already composed, right, like a real life
like a live set, right? Plus, when you be
able to control real live instruments that are synchronized
with the same clock, with the same DA
that's the point, you know? And that's it. And you can simply play according to the
features that you have, you know, for in this case, I can just kind of
play stuff on top of on top of my notes of the sap sequencer,
you know, let me show you. It's just lower notes, you know, like
this. And let's go. Oh, you know, and then all
your performance is not lost. You have this entire
thing that we played, and it's pretty much
perfectly in time. There is going to be a
slight latency that is just built up because
of the limitations of the medi technology. But the thing is that we have our actual performance
that was using our live nodes plus
the embedded nodes in the step sequencer
that are already on time with the BPM
that we chose in HBase. Alright? Have fun
with all this stuff.
67. Wwise Integration (Game Audio): If you make sounds for video games on a professional level, eventually, you will learn
a software called Wise, which is a fantastic software
that allows you to create immersive audio systems
for games made in Unity, real engine, gamemerO what you want that supports
this software. So it looks like this.
Let me show you here. There is an amazing
integration that you can do with nuendoFundamentally, you can design your favorite
sounds innuendo first. Here, you can work, you
know, A's regular, right? You make your amazing sounds. And then you can dragon drop the sound straight
from here into Ys. You know, to do that, you
simply initial go to project. Game, audio connect. So right now, we just
opened Nu endo first. Then I opened my project is, and then we go here and
turn this on like this. Let me disable this on purpose
right, it looks like this. The first time you open
it, then you enable. Alright. And as you
can see, we recognize that there is a software
open, ready to go. And yeah, so then
here in wise you can select the work units that you
want the audios you go to. In this case, it doesn't
matter. So I'm going to simply select a target
randomly, here, right? And so, so here, the way it works is
that you simply go here back in nuendo as you can see, is detecting exactly what I selected in wise,
which is crazy, right? And at this point,
we design our sound, and when it's ready,
you can simply drag and drop here, yeah. It's gonna automatically
tell us, Okay, do you want to import
that sound into is into that specific
folder? The answer is yes. So we import Of the exact sound that we just
imported that we created, Inuendo now is just here in that exact folder
I selected, right? So it's very precise. And now we can use it for what we want inside
wie for our game, you know? That's crazy, right? And finally, we can go back at any time into the editing
mode of that sound. In fact, suppose that we then we close innuendo, you know, we close the project, we think we're done with
work like this, right? And then we continue
to work for some time. But then you say, Oh,
wait, I want you kind of redesign that sound a
little bit more precisely. Well, simply right
click that sound here and see what we have
here. Edit innuendo. Ready to go. So this will automatically reopen the exact project
automatically innuendo. See what's happening?
Just activate. It brings us exactly in that sound exactly that
project f. That's it. Fully synchronized, you know? And then we simply redesign
it and then simply change it, and then simply drag and
drop again and we'll simply resynchroni re override
it with a specific sound. You see that it's already
targeted, that's it. That's it. You know, and, yeah. And if you wonder which settings using when you export from uendoTWis is using
the latest settings that you selected
in the export menu. So here, right now, we have wave, 44, 30 so bit. So if you change this from here, it will then use that
setting, you know? Another way to export
the sound from uendoTWie is to render
in place first. Maybe you want to maybe exclude some parts of the
effects of that sound. Simply use the classic
render in place feature that we saw 1,000
times at this point, choose the type of render
and only then drag that sound from uendoo wise, you know, and,
yeah, that's rich. That's
68. Spectralayers: Spectral layers is a
separate extension that you initially install
from the Steinberg download assistant with Nuendo and fundamentally
allows you to imagine that as a integrated audacity or like a alternative
to isotope Rx. So in other words, gives you additional spectral
control on your samples. You know, maybe
you want to clean those up in a specific way or you want to maybe kind of
break down a multi track. It's individual instruments. There are so many things
that you can but one of the most useful things is
to denoise a truck, right? Or to remove unwanted parts, unwanted noises from that truck. Right. For example, let me
show you right now here, we have this ambient track. Okay? Do you see that
we have the room noise, which is what we want, but
there is a unwanted noise. It seems to be like some kind of some kind of noise
in the streets, right? You see that sound
in the streets. Like so you simply select
your target clip like this, and then go to audio
extensions, spectral layers. Alright? With a
couple of seconds, you may see this window
there different size, so make it bigger like this. And right, so now we can
simply play the sample. Alright, see what's happening. So we can definitely start
to notice that we can, first of all, identify visually where the unwanted component is. It's very clear that is
this thing here, you know? So now to remove that
part of the spectrum. We can simply
select it using one of the selection
tools available here. We can do a laser selection
or a rechnical selection. You know, let's go with the
classic Rechnical selection. Like those, you know, Alright. And then simply the lead. So press the lead or
backspace. And that's it. So now let's see what
is happening so far. Okay, it may now play exactly
that part individually, but once you hear the fi result, the quickest way is to
simply close this window like this and yeah, and now we should have zero
noise, let's see. Oof. See what's happening?
So that part of sound is completely destroyed. We don't have anymore that
additional sound, you know? So, it means that then is just a matter of fading this, you know, with other ones of
this, right? Like this. And we have one version of this background sound
without noise, you know, without annoying whistle, you
know? You know, that's it. That's it. And since this
is a background sound, nobody will care,
you know, about these tiny artifacts that
we may have sometimes. But for the most part,
this tool is perfect for these precise cleaning
up processes, you know? And, yeah, so that's the
introduction to spectral layer.
69. ADR (Easy Redubbing): ADR stands for automated
dialog replacement is an amazing feature that allows you to redub more easily a performance that you
recorded on Video, right? So it doesn't matter
if it's going to be in the same language or
different language. This is going to streamline
the process of re dubbing a material in
your studio, right? So let's suppose that
we have a video here. Let's import first of all, the video, make sure that you include the
audio, obviously. So we have the reference audio from the actual video
recording, right? Okay. So let's see
this situation. We have this
performance here with this person saying
these lines. Let's see. Alright, so in the end,
there are only two choices. One is continuing
with this project. Or stopping. In the end, it's just your choice. Okay? Okay, so we have this
reference recording recorded with a bad mic. And in this case, we need to redub it in high quality, right? But this process works
also if you need to simply redub something in a
different language, right? The first step is
to simply detect the silences between the
different lines, right? So to do that, you need to
select the audio recording. Let's normalize it a little
bit like this, right? And then we select the
clip and go to audio advanced and then detect
silences like this. Alright? This will automatically
automatically cut the performance for us. In case the threshold is wrong, just tweak it from
here, you know, and it's going to
be more precise. So in this case, I guess this seems should be good enough. Alright, let's just increase the pause between the
cut a little bit, using this number here, pre roll, post roll. All right, also here, minimum time open and
minimum time closed. And then we simply confirm.
Alright, what about that? Ooh. You see what happened? So, now we're gonna put together the parts that are actually part
of the same line. So let's just double check. Alright, so in the end,
there are only two choices. Okay, so these are part of one, so we're going to
glue those together with four and then click. Alright. And yeah, let's
continue to glue the other ones. One is continue
with this project. Okay, that's independent, Lus. Or stopping. Okay? These are kind of the same
part of the same thing, so we can keep this together. And yet, this is
just your choice. Okay? This is a
standalone. Okay. Alright, and that's it. Okay, so in total, we
have one, two, three, four, five pieces of dialog
that we need to replace. Alright? So then we start to create markers for
each cycle markers. So to do that, we actually select all the events like this, and then we go to this
nice window project. And then create markers from selected events,
and that's it. Alright, so we click
this nice feature, and then make sure
that you select cycle and simply confirm. Pooh. You see what happened? Now we have markers
exactly for each. And these are going to be very important for this
process to work. Now, let's create an
empty audio track where we're going
to actually record the new dialog on, right? So we just be type dialog. Okay? Make sure that it's ready
routed, ready to record. Let's do at test recording. One, two, three, four, five. As you can see it's
not working stall. Let's double check the inputs. So we simply go here, route it. Input number one,
exactly the C level double shock. Okay,
now it's working. Alright. So do all
your routing settings, and when it's ready,
we need to open the ADR window, okay? So we simply click Control, and, yeah, that's
how it looks like. So when you press Control M. We have the window
that normally is just from the
markers management. But actually, we have
a new tab here, ADR. Alright? So yeah, let me show
you how it works, right? So first of all, we can simply navigate between the markers
with these two buttons. Alright, let me show you. Let me make this
a little smaller. Right. Okay. Okay, let me show
you what is happening. First of all, we can navigate
between the markers, right? So we have the voice actor in the room waiting for
our cues, right? Actually, he will not need the cues to watch
because he will actually see the screen, right? He will see the video,
right, like this. So we place this video
player on the screen, right? And let me show you there
will be some video cues that indicate when it's time you
start recording, alright? So just place here, okay? So first of all, we have five. We go on a session, right, and we have five things to
record today, you know? So we go to the first marker. Can, and then we simply press
record to do a task lose. Whoo. You see what's happening? Alright, so in the end, there
are only two choices. O on. You see what happened? So
when I pressed recording, it kind of initiated a pre roll timer with
a nice slider, right, going from left to right
to kind of give the cue, right, to the actor when it's time to start
recording, right? Then, during the take, we had a second visual
cue to indicate the timing of that
specific take, you know? So these two things
are extremely important and make the job
very easy for us, you know? And then at that point, you still go make sure
that you record. So let me go here and we
simply record, right? And, yeah. Alright,
so in the end, there are only two choices. Okay, so maybe let's
reduce the Let's put this track in listening so we hear the rest
a little quieter. Alright, so Exactly.
So I can record. Now the actual take, you know, as if I was the
voice actor, right? Mixed everything. Alright, so we have full control as always. Obviously, here, in
every single marker, you can store all the information
that you need, right? You can simply type the
entire dialogue really, right, specific line, right? So yeah, for example, we can simply rename this guy with the actual content.
You know, we go here. So the end there only choices. Okay, so we type
the dialogue here. You know, we go here,
dialogue so that way, they cannot get mistaken because they have exactly the
information, right? Okay, yeah, and then we simply start recording.
Alright, what about that? So we go back here
in our console, and we select our dialog track and we record.
Alright, let's see. Alright, so in the end
all the two choices. Skin. Okay. All right, so in the andra, Aliante it. Okay. Just forgive my
terrible voice actor ability, but this is just an example. Alright, so at this point, we can then mute that take
by pressing seven and click on D T and then we hear only the high quality
version. Let's see. Alright, so in Deandra
audited. Alright. Right. And then it's
just a matter of realigning with some
micro stretches, you take, like this,
you go inside, you go to the audio work if necessary, like
this, free work. Aliant it. You know, we are here
on the take, and you can kind of realign
some parts like this, according to the
label up, you know. This process is a little
harder if you change the language or if the voice actor is bad
like me, you know, so. Alright, so in the end, all the change choices. Alright. And the point is that
then we start to have the full quality
version of the bad uh, dub that we had in the
initial recording, you know? So in the endro all
lead your choices. Alright. You know, that's
it. That's it. That's it. And yeah, when both you and the voice actor
are satisfied, you can then continue
with the next one. So you can simply
click Next click this, and the process continues.
So you can simply do this. Alright, or in the andra, all lead your choices. One is continue
with this project. Right? That's it. And then you continue until all the
lines are recorded. Right? So obviously, this entire thing is completely customizable, so you can press this
gear button and you can choose the actual visual cues that the actor prepares to see. You know, you can
change the swipe with a timer, you
know, three, two, one, or you can have a little dot that
goes from left to right. There are many options
about that, you know, all those mini things can be customized from this
specific window, alright? These are the basics of ADR, and just keep exploring in
case you need to go deeper into this specific part
of Nuendo. And yeah
Eyevenear, Teacher in Audiovisuals, AI, Coding AND Pizza.
