Everything About Cubase! Step by Step Masterclass (+ Nuendo)

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