Expert Music Production and Sound(Audio) Engineering in Logic Pro :Beat Making, Mixing and Mastering

1. 1) Introduction : Hello there, thanks for stopping by and welcome to Explit Music Production and Sound Engineering in Logic Pro X. I'm your host Mark Robin. You'll be exposed to concepts that can be applied to other digital audio workstations or sound engineering programs such as ProTools or Studio One, even other programs as well. The concepts that you can learn are as follows, such as navigating through Logic Rx and other programs, knowing about the buffer size, which when adjusted can reduce pops and clicks in your music. Also, the Nyquis theorem, bit depth, and reducing quantition error. I graduated at Magna Kamlor from my bachelor fine arts degree that deals with sound engineering. So I'm a person that's well informed here to share with you. I also encourage you to leave feedback in the reviews so that I can improve and also continue to maintain what you. This course will also be teaching about making your instrumental beat production, your chorus oe, your bridge, et cetera, frequency arrangement in terms of placing the various instruments in your beat in their frequency ranges to prevent frequency clashing and proper fit of sounds. This course will also teach you to edit audio. I will teach you as your instructor about editing. In terms of tuning with flex pitch and Logix, you'll learn about node beams. Pitch curves, the vibrato, and also setting your notes into bufic pitch and can make your vocals or your truck sound from this. Yeah, you're rolling laddie ocean. B, B, Rush, me, B, Don't pass me. Do this. Yeah, you're rolling laddie ocean. B B, rush, me, B. Don't pass me, B. You'll also get an insight into songwriting. And you will see my flow for guideing my path through this beautiful journey. Also, you will be shown mixing with the gain staging and the equalization and also to understand filter slopes and also maintaining a proper frequency fit with the base and kick in your truck to maintain that relationship. All in all, it's a very fun course, and I welcome you to stay. Are you tired of waiting on your dreams? Come on down and enroll now, empower yourself. Be transformed to a person who did not know to knowing from a person who knew to knowing more. This beautiful course is for beginners, upcoming sound engineers, experts who may want a different insight or standpoint, and also for independent recording artists who have paths that do not align with that of record labels and you want to do all these things on your own because you love this form of art. This course is for those who do not have the time to sit down for years and attend audio engineering college or for those who do not want or have the money to spend for expensive tuition fees in audio engineering. This course can help you avoid the additional courses that you may not be interested in as well. This is also for those of you who want to learn at your own piece. At the time that you choose, which means that you can buy now, this cost and start a little now all next month or next three months. This is also for those who want to in their own space and have a peace of mind in the privacy of their homes. So thank you for taking the time to stop by. I appreciate you and I hope to see you more on this journey. Have a good one. 2. 2) Navigation in Logic Pro X: Yes, so welcome to the Logic Procession. Let's proceed and get this show on the road. So we are at the dashboard where we are seeing five various tracks, software instrument, audio drama, external media guitar or bass. For the purpose of this session, we are going with software instrument. Number of racks to create. There's a pop track. I'm going to do. So let's say, I'll start approximately with six. Audio output is coming through output one and two. Okay, so create software instrument tracks. Okay, beautiful. So before we start, let's go through a few things. We are going to do a pop instrumental check. But before that, I would like to go through these parameters here, Logic Pro, preferences, audio. Right? So you see buffer size, 64 samples, right? So in the event that if while doing digital instrumentation, you want to do acoustic recordings. Let's say you want to record a guitar or a vocal to make a sample along with those digital recordings, have a reasonably low buffer size so that there won't be delayed playback if it was to have a higher buffer size. For mixing, it's the reverse. You want a relatively higher buffer size. Let's say, this 1024 samples if mixing, so you wouldn't so you wouldn't hear or alleviate pops and clicks. Right? So that's that. Go to recording show that you check off your 24 bit recording if it's not checked, and 24 bit recording is a standard, and it ties into the sample ad. So what the bit does, right? In terms of the bit depth, the bit depth is your headroom count. So if you're recording, the more bits is the more headroom you have, which is good, right? For cleaner recordings, right? And the next thing is that the bit depth determines the accuracy of the sampling. Yes, right? It goes hand in hand. The bit depth also alleviates or prevents the noise interference that is rendered from something known as quantization or rounding errors. All right? And the phenomenon that the bend ties into is known as sample rate. And sample rate is the number of samples or snapshots taken per second of an audio signal. And what it does, it takes the samples, right? F to represent audio in the digital domain in terms of ones and zeros, right? So with all that being said, you had a sample, as well as you had a sound quality because, for example, if you go to file project settings, audio. If you look here, 44.1, right to 44,000, at least kilohus, right? Now, the thing about it is with respect to the Nikos theory, you have to have two times the sample rate must be twice the highest frequency that you want to capture. So let's say here, you want to capture 22,000 hots, which is 22 kilohertz, two times that will be 44 kilohertz, right? And you have 44.1, so we cover that. And if you go to at least a reasonable industry standard, in addition to 44.1, we cover that 22,000 kilohertz, right? So sample it and bit depth must be at good standards in the event you want to record instrumentation to supplement your digital performances, right? With that being said, also be informed of what I'm having the at here, your bit depth, sorry, not your bit depth, your BPM. It's at 1:20 right now. You can click this drag Dong, drag straight up, increase it very high. Right? That's your tempo. You have your C major, signifier here, and you have your time signature for the purpose of this class, we'll be using 44 timing, simple timing, right? You can use that for pop. You can also, three, four timing, you can use for contemporary R&B, right? You can use 44 for the R&B as well. Depends on the direction you are going in, right? Depends on the direction you are going. Right, so the skill we're going in is E major. Right? I open this window here to render my notes because it's good to have a guidance. So when you come back, and if you want to add something to your instrumentation, you can easily reference and get the information to have a faster workflow, right? Accordingly. The BPM is 120 All right. And you can make other notes as you go along. Also on the side here, you can see the loopex, choose a scale, signature here, you see the keys and stuff. Also, just ensure that the key illustrator is actually what it says it is because if I'm not mistaken, I saw that a file, it said one key, and when you checked it, it wasn't that key, right? So just check it in terms of your ears, whatever tuning tools you have and move forward, et cetera. Okay? Alright. So let's go to a few parameters here. To the left, you'll see library. This is where we have the Base jumkit, electronic jump kit, and so on. You can type here in the bar to search for your different instruments that you would like to acquire, right? It's your library, press Y or however you have implemented your commands on your Logic Pro, DAW. So Y? Hold on. That was not a hold on. Right. So the library is going by pressing y. This is your inspector. You see this area here, your region quan ties and stuff. And while we are here, just select the tracks, all of them, and set them to 160 note, which is generally a foundation time setting because it generally works with a wide amount of material with respect to timing. You know, so you can tweak the suit for 132, 164 to get detail and context and put your swing accordingly if you so desire. Alright. That's nice. So we're just moving along. In this inspector here, I press I, it disappears. It comes back. So this area here, you see different parameters coming on here. This box above all your effects. You can choose different different plug ins and so on. So, let's say, open alchemy, which is a very powerful one among the others. You'll see that you have them by category, subcategory, the genre, or the type, and the tamber, right? And you go across. Then you also have parameters below, bright synth, epic synth, metallic, motion part, et cetera. All right? You have parameters to move around with, like, delay, reverb, movement, character, and so on and so forth. So you can get back to that. Just another thing. You can even come in, quick sampler and create some interesting stuff. All right. So like, for example, if you're looking for a nice subby type of Bs to hit you that 40 hoods or even 35 hoods, low frequency information, you adjust it to suit. So, let's say, for example, I click foundation Base one, right? And then I hold on. Alright. My son again. So you get that nice sabby biz. So what you have to be careful to is just as a side note, when you zoom in where cool on your iMac mouse on the center, it zooms in, when the Hold on. When you press play, and this cursor moves, when it hits you, it clicks. So yeah, come back. Alright, clicks alleviate that, you can make it longer. You understand so you can drag this out longer. So by the time you finish play a note, let's say you just need to hold your note around this 2.5 area here, it doesn't click because it doesn't even reach the end. That's one point to note. You understand. Let's go in a bit. Let's go in a bit. Alright. You can apply a feed at the start as well for it to go in as per your desire. Understand. Let's have no fit. Hold on. Right? Alright. So when you initially press the note, listen to the click at the start. I'll leave you that click, fit it in smoothly. Alright. Click disappear at the start, okay? Alright, that's beautiful. So you have something that you can come to. And the other parameters, of course, pitch, filter, amp, LFO, but that is not the main focus of this class. This is just a bonus, right? So to speak. Okay, so let's get back where you want to be. Or we could choose Alchemy one time. Alright, so continuing with the parameters and so on. I want you to pay attention. Here you have your metronome. This is your click. You click it. It can come on. You'll hear it. Or you can press K off, K on, right? To the bottom left, you will see command and the arrow, and you will continue along this period of time to witness commands such as that. And as we are on the topic of commands, let's just go through a few before we actually start to progress to the beat making stage. So if, let's say, for example, you want to transpose by an octave is option shift up, okay? Also, to transpose by a semitone is option up. Also, you want to do an undo Command Z, redo, Command Shift Z, okay? Solo is S. M is mute. Well, command K, right? I brings up a musical keyboard for you. Understand. So if you're the type to go through your musical journey like this, as opposed to using an external media keyboard, you can peruse this type of singing. Okay. And cycle mode, which is the range of where your material will play back. So it will go 1-5 and back again. So if you're recording you're recording, stop C at five or even six if that's where it is because that's a boundary, okay? So let's test it out and show you C on, C off, C on, C off, C on. Yeah? Let's go. Okay. And then go start, okay? All right. So let's right, peruse that. Also, look at the SMAT here says snap to grid. You have snapped by a bar, B division ticks and so on. You can go through that when you have some material. And it stand so smart, actually, you see the resistance of the audio region snap into a grid, like in line with some of these little strokes here. And also, if it was to select if you were to select ticks, it will go smooth past th strokes and so on, right? This gives you a zoomed in concept. Of your form on your audio regions. We'll see all of that later and so on. You press X, you bring up your mixer, right, showing your channel strips, you understand, Your pan nubs here, the pan left and right. Also be informed that if it is you have a session in C -5.5 or whatever numbers, they set at various points and then not at 0.0, which is at unity gain, you just select them all. Go along Shif after you select the first one, then select the rest, right? Option shift due to all, and it goes to 0.0, right? Also, bear in mind some of these plugins are loaded, are loaded with plugins that are not necessary.This can consume your power. Um, you understand. And this is your stereo out here. This is your master bus. Okay, right. So those are the things. So let's look for instruments, right? So electronic drum kit, analog city, no analog circuit, right. We can get that here. And by the way, let me just say thank you very much for enrolling in this class because I'm a person very passionate about teaching the topic of audio engineering, sound design, and so on. I'm interested in these things, and I aim to share knowledge for those who are willing, you understand to some degree. According to the context, okay? So, yes, thank you for being here. And please share the wood and do come again, right? So duplicate. That is a duplicate button here to make a same track like this above here. This here just to show you stuff like an initial dashboard with five tracks, okay? Okay. Cancel that, right? So sole track and so on, right? Let's go. So analog circuit. So that's for the kick, that's for the snare, right? We can have synthesizer and progressive rhythmic carbon particles, okay? Nice. And then we duplicate as it's already there. Cause if you come here to electric piano, right, you'll take it out of the path where you were in when you're looking for instruments like carbon particles. I go back to that, we'll take it to the pathway I was in synthesize rhythmic, right? Okay, so you can have another one, right? Let's have another one. So carbon particles, chill vocals. Right? Let's take a pluck, synthesizer, plucked. No, plucked cloud, right? As you can see, as I load it up here, you see in space design and so on TB All that is not necessary at this point in time. Okay? Nice. So I got a few instruments there. Let's pull up also a synthesizer. Bass bass bass. Alright. Let's go down and see how it sounds, huh? So let's use that synth base, okay? So you got a synth base, synth, vocal sequences, carbon particles, analog circuits, and so on and so forth. So we're doing well so far. Alright? Yes. Alright. Let's get something else again. Nice part alchemy. Alchemy supposed to have something nice. Let's go to pads, analog. Sunrise pop as we deal with pop. And we can have something fat. Let's go through a few things here. Okay? What's going through the parameters, you know? Let's go a perfect perfect part, right? It sounds really nice and warm. We can use that for, like, the bridge, right? So we set up nice here so far man, right? So now we're going to start the lady tracks and move accordingly. Yes. 3. 3) Beat making part 1 : Welcome again. So let's proceed. So, you can see that my session was named Logic pop class A, and it is Dash Tax. Nice. So we're going to deal with a pop instrumental. So a little bit of pop. Apart from pop standing for popular, it can still be pop if it's unpopular, any sense of the instrumentation. So you can have a kick drum that's it has some pump, some top end information, and it is not as aggressive with that low end emphasis as in hard core hip hop on the kick drum. You also have a snail that cracks. However, it doesn't have to crack. It can be a balance between crack with a cushion effect. Also, you have looped performance of a synthesizer, and you can have sequences and so on and a dreamy type of part, emphasis on your vocal and so on, with a nice melodia that's repetitive. You understand. So it's a nice genre, at least in the modern context, and it has variety. Okay? Yeah, so let's proceed. So let's get our kick. Right? Let's see what we're booking with you. Let's go. Alright, let's go. Alright. Okay, let's go there, so we can copy that next door. I like that there. That's a bit of humor here for me. Alright. So let's go. Alright. Mm hmm, mm. Mm mm. All so I can work with that. Let's go. Et's put that next door. Okay. Little mix. Add this now. Let's go again. Start. Sometimes you got to tick it a few times. Yes. Alright. So we're proceeding here now. That's cool. We get some progress there. Let's just see with this piece design on it. Alright, let's tweak the sabbath again. Mm hmm. Okay, so I'm not feeling that one, so let's go to something else. All right, so let's go. And All right, manipulate some of these parameters. All right. So listen to it. Solo. Listen to it. Again, lay on do so you can hear it different. So with Audi sustain up, Mmm. Let's do it now. Mm hm. Mm hmm. Mm hmm. Mm hm. Mm hmm. Mm. Mmm. Like you're feeling more body here right now, right? So sore on your face as though it's been compressed, okay? So we can take off some. Mm hm. Mm. Let's go, let's go. Let's go. Right? Let's got a base in here now, huh? Yes, ma'am, yes. Let's see what a base will do for us. All right. Alright, so that's it for the chores for a while, we can always come and touch up and do sum tweaking. Afterwards, we can move on now to the first. 4. 4) Beat making part 2 : Welcome again. So we're going to Verse two this time. Let's check it out. Right. You can check that after. So you want an analog circuit. And in addition to that, you like a snare to go with that. You get this stuff one time, carbon particles. You can select one, okay? Bring it across. And also, you want you want to piece. So I'm just duplicating to prepare my checks one time, you know? Get it all prepped and ready. We're gonna uh all right. So that can go here. Okay? Right here. All right. So that's thought. Come wrong here. Alright. Let's go. Let's check it out. Metronomon So let's get that going. Right. We cross. Okay. Let's do this. Alright, so we're going good so far with the timing and the synchronization. All right, so let's switch it up a bit. We're here to here. Okay, well check that off. Alright, so to make that simple. Alright. Is into that whole part there. Mm, right. Mm. All right, so we continuing. Variation now. Okay. Nice. Alright. So we're going to Mr. Sneer. A bit off here. Let's check and see. Okay, copy that. And we're taking off with this. Let's see what we do for this near the end. No, I don't like that one. There's some variations, you know. Nice. Okay, let's drop that a bit. All right. So, we got that synced up. Let's see what's going on in the cab on Aria. Alright. Alright. Let's press X to the mixer. Look at the number of things that are loaded. Let's take off. So we have here overdrive and a tape delay. That doesn't need to be on. Alright? That's right. That doesn't need to be on. Over drive. Doesn't need to be on. Let's see how that B sounds. You know? Okay. Save some power and so. Alright. Let's test it out. Spring it up a bit. Yeah. All right, simple structure. Simple structure, right? Let's go to something else here. What does it have? I go synthesizer or we could go to Alchemy. Get things on a roll with Alchemy and see the parts. We go to analog, we go to the pop genre, go to the Tambra. Right? Get that nice tech different types of textures, get your eye warm. Let's go to Space Bud and test it out. Okay. Oh Sounds like a nice bridger. So let's here. Let's put this over here, in case of anything before we forget, right? Were Alright. All right. One more. Alright, so that's a bridge sorted out by the time there. Sometimes you just got to roll with it, you know, even though you're dealing with something, you get an idea before you forget, you play it. Laid down. There's a command S button, you know? Yeah. Okay, as I said that, let's bring back on the key caster in order to display what I'm using. Let's quit that. Sure that the power is working nice. Okay. Alright, it's back. Now, back to what I was dealing with. That's something else. Alchemy. Gel. Let's skip it a bit. Alright. That sounds really nice. Alright, so we go in here and we keep going in. Mm hmm. You got a phone. Alright, let's copy and paste. Alright. We got that down, let's hit them. The Beast. Let's see. Come back down. Okay. I like that piece. But that piece play the same note. Yeah. So we could tick up to here. Let's call it. It's cool. Alright, something just got to play and experiment with the sounds a bit. All right. Squawking. Train to crush. O Coker bid. Nice. Alright, so that line that there base kick. P synthesize synthesize School. All right, beautiful, beautiful. Okay, so what we can do is go across, give them some space because we want the cross to be longer, right? Give it some length and time. All right. Bring this across. Copy and piece. So you've seen the commands on the screen, select all of the regions that you want to move. Hold Option, click, rag across the Letting go of the click. Place in line. Let go click and leave option, hold, held down, and that's it, right? Just to observe something case I didn't highlight it as I should. Smart. This is a snap to degree, okay? Alright. Smart snaps like this. Look at where this area of the collective region just snap into. See? It's moving as though it's being stopped by individual grids, right? All right. Then when I go to ticks, I go smoother, okay? If you go to bar, snaps to the bar. Watch, see it to the bars. And the same thing applies if I press E, the edit window for below here, it SMAT. Okay? So for example, it sounds smart now. Let's go here. Use this note. Smart snaps you know, to individual grades that you may not see. I as oom then accordingly, takes smooth moving. Alright. So let's get back to the material at hand. So that's that. Okay? Lovely. Let's get back copy and paste. Copy and pace. Alright. And as we continue, give them the beautiful bridge. Let's give them here. Actually, let's undo that and bring the bridge below with some sense of water. Yeah. Let's do a duplicate so that this has his own his own lane, right? And he has his, right? And this can go back up to the chorus area and then bring across. Bring across this whole area here. Beautiful. So it goes into the bridge from the course. Let's see what's good on the Bs Area. See it by itself. Okay, so right, bring these two downward, and being like here. Let's go. We go into the course after. Okay. So option and drag across. Let's see where it ends. It starts it's about here. Let's cool. Yeah. Right, so that's it for the entire track, right? Chorus, fs, chorus, fus bridge, chorus. Okay? So let's stay tuned. 5. 5) arrangement: Hi, again. Welcome. So let's proceed. So if you look at the regions, we can observe that they are colored for some flavor and so, right? Yes. Okay. And the topic we are dealing with is arrangement of our music. Paying attention to frequencies. So we finished the instrumental. However, even though you finish the instrumental, the pop type of instrumental or beat, what we want to pay attention to is the frequency, right? Or frequencies. By the way, just to go over this, to change the color, right, click, assign tar color and choose your color as you'd like. You could see at number two there, where the arrow has been magnified. Click orange, it turns to orange. Green, green, brown, okay? Now, the important thing about color coding is that it looks good, and makes it more interesting to work with and also color codes your instruments so that you can pinpoint based on what you're accustomed to in color coding, your viious instruments that can enhance your workflow, okay? Right. Alright, so back to the topic of arrangement. And we can see chorus first chorus first on the top there. So let's pay attention. So what I would do is something that I can recommend, and I will at the side here. Let's put a number of instruments so the kick snare carbon. Carbon synth is the carbon particles in orange and space block. Also stereosynth base. Let's put base because it's one base track on the course, right? We'll deal with these after. Now what we're going to do is put the frequency ranges. So if you pay attention, right, let's sol this. Rats 30. It's about 1:40, okay? Crossing 30 hoods, it's about 1:40 hoots. That's the age of the kick that is being pronounced or focused on right now. Or whereas the most focused, right? So let's put that 30 to 140 hoots. Snare. Let's check the snare. Let's ensure that he ups off, drop off to see processing power. Let's check the snare. Led to pit cycle boundaries. So we see them inomission here. It's pronounton. But look at the era in which you're hearing it. We it's concentrated. Let's see approximately 2.5 kilohertz to about 6 kilohertz. Carbon synth. Let's do this. Carbon synth. All right. Excuse me spots there, maybe a little computer glitch. Five it's about three. Okay? Two to 500. Right. We almost finished writing out our notes on the right. Nodes are important. They're like your frequency map in the skis. What do you call that EQ, but on this, right? Okay. Last approximately 450. Hold on. 453. So 450. Right. And the best Let's check the Bs. Can like off. The best. Let's do this. See the title stereos and the bass. Let's play again. 32, about 85 hoods. Here, 30 table 85. All right. So what I did here is basically showing you the frequency spaces of these various instruments, the frequency space that they each pick up, the approximate ranges. And the reason why I mapped it out and listed out like that is because it can show you what spaces are occupied and what spaces are available to be filled. Now the reason why you would want to consider these things is because if it is you have, let's say, for example, you look to my right, you have carbon synth, taking up just see at this part here, 800 to three kilohotz. And you also have three other synths, in the Same ridge, 800 to three kilohotz, 800 to three kilohotz you can have frequency clashes. Also, you would want to have instruments of different frequency spaces like kick T is the 140 snare, 2.5 to six k, and so on, to give you mix. More dynamic range. And when I say dynamic range, I mean the difference between the loudest and the softest parts of your mix. And you can look at it in terms of the contrast between the low and the high frequencies of your mix, which could possibly also based on how you assemble it, give you more depth, more excitement, and have a bigger perception of your mix and by extension, your musical rendition or song. So this is very important. Okay. So let's look at the bottom here. So I have something called Balinese Done. Bolognese done. Pay attention to here. So let's see what's available. Hold on. Let's play Balgese Done tight layer bolognese. Right. It takes up. 66 to ten k. If we look to the right, our highest frequency like 140, six k, 500, three k, 3 kilohertz, 85 hoods. The highest point, you can label it as well, but each for highest is 6 kilohertz. So six to ten will be fine for an additional instrument to add more dynamics because that's the available frequency space for it to fit, okay? So from 6.5 estimated and up, you can add that and then above that, but you don't want to fill up the space too much, but you get what I'm going from, hopefully, where I'm coming from, hopefully, okay? So that's that for the frequency arrangement. And take this into consideration. When you do this for yourself, you make the mixer's job easier, okay? So point a note. So let's just play a record pass. Let's play a pass. Hold on. Okay. So let's move on. 6. 6) editing 1: Thank you for coming again, student. It means a lot to me for you to be in such far progress. And this afternoon, the topic will be editing. So let's just pay attention to our logic Pro real estate. So without further ado, let's look at it. So if you look above, you can see our labels to show the various sections of the song, like, you know, our structure, chorus, chorus, F bridge, chorus. Okay? We see that we have colored, our regions, and you also have some audio tracks. One point to note is that it is not mandatory, but for the sake of workflow and professionalism, it is very good to do what I did here or however you want to do it, which is label your audio track. So you would be seeing audio one, Audio two, and then you're not sure. What track is the chorus track, what track is the verse? What truck? What track is the bridge and so on. So you can have a sense of order and a sense of proper a sense of proper workflow. So by the way, these vocals were done by myself, one who is learning to sing. So we'll play that in a bit. Also, just remember, these are your left and right. Click tools. You have your mouse, pencil toolly reset, cetera scissors. You also have your right click tools. What tool you would want to automatically come out when you click the right part of the mouse and so on. Remember, your grid, your grid parameters, if you want all your regions, as in the case that we have here to snap. In terms of the bar, in terms of the smart snap in terms of ticks, it is very smooth moving. So are different parameters. Okay, so let's move forward. All right. So let's play this truck here. Mute that for the while. Let's go. B. Okay. So now we're going to hear the vocals that are recorded. This is basically it. Let's raise it a bit. Also remember you can click this, but here we form Zoom so it can increase its image. And bear mind you are not increasing the gain, just the image of the original gain, right? So it's just increasing what you see and not what you hear and not what is there. Okay. I don't stop ding at you 'cause I love you. At Ato at oh I too, too, too, oh. I don't want to stop looking at you. Ato I do, do, do oh. Love and how she dance around in love. My feelings soft. Hey. Yeah, you on it like the ocean, baby. Coming to me, I like the ocean, baby, rush me, babe. Touch me, baby. Ocean Coming to me B I see you Oh with me, Bore I be my eyes on you and I always want to be with you. Let me do. Let me be man. Oh, so, baby. Hush me, baby don't hush me. You bet. Yeah, you rolling like Ocean. Love me like you never love someone else. Love me like you never love someone else. I look at you and I see myself with you. Love me like you never love someone else. Mm hm. And it goes back to the chorus. So you got an idea of the track that I recorded and especially for those recording artists who are watching. If you are, you can see how to make your track with your beat or instrumental, write your song and put it like this. For those who are not professional singers as yet like myself, you can see how a track recording can sound like this, and then we will polish it and see how we can make ourselves sound better. So pay attention. Right. So now let's go and check this. Now, you will see that I have some other recordings below. Those just different ties that we can alternate in between, so we can listen and select accordingly. What we can do as well is below each recording, you can click the duplicate ack button so that you can have space in case you want something here. And you want to track a dog or have a backup, and so they can call us like Min Chuck and if you like what you have, you put it on a main track whether it's from below or above. You understand? So let's do this. Okay. So let's go through. Let's see what we have. I don't stop looking at you. Now, remember, we want trucks that are in key and also are in feel. You can end up getting a truck that's in feel but slightly off key. So according to what you are looking for, you may actually prefer the one that's slightly out of key, but that has more energy vibe and feeling and recordings are A pieces that sometimes you can do 60 recordings, and you get one that feels the best. And you do another 60 to get that same one that's slightly out of key. However, you're not getting the same feel, so you tweak accordingly. However, don't go away off key that it doesn't sound pleasing to the air, right? The ideal thing is in key in feel, songs right, feels right. Looks right. Okay? Yeah. So let's go again. I don't want to stop, girl, looking at, you. I don't want to stop, girl, looking at. I don't want to stop girl looking at. I don't want to stop looking it. Right, so pay attention, you'll see I have my feeders straight up. You have to be careful if you don't know what you're doing. Don't set it up afraid to overshoot into the red. You understand. As you get more comfortable and you understand the program in time, you can move according to how you can see living on the edge in your DAW. If you're not sure what you're doing, drag all of them down. So let's go from the recordings. In terms of vocals, let's hit them to unity for safety, and good practice. Stereo out. Right. Okay, let's do this again. I don't want to stop girl looking at you. I don't want to stop, girl looking at. Okay, so I prefer the one on the top, so I'll delete that one time. I'm not wasting any time. Let's set it up. Set it up to a relatively equal, uh, gain so that, you know, one doesn't fool you, and sounds better just because it's louder. Okay, right. So let's try from the bottom here, this part. 'Cause I love you. I do. 'Cause I love you. I do. I I love you. Io. A So I'll take the one on the top. So I'll leave that here. You leave that there. So you should know your workflow. Alright? Oh oh. Oh, mm. Oh, mm. Oh, oh. Oh, oh. Ado, oh. You don't want that oh. Ato. The oh yeah, can keep that for the sake over and flavor once I tune it accordingly, okay? Yeah. Oh, Ado oh, mm. Right. So that? A two, at a two a. At two A two, Oh. At two A two, Oh. Alright so let's leave that we'll just keep this. Bring them up a bit. All right. And we can, as I said before, bring it down, Cars Me and Chuck, leave this as a backup. Let's see what's going on here. Well, it's the only one, so we can work with it, you know, bring it down to me and Chuck. I don't want to stop girl looking at you. Girl looking at. Girl looking at you. Alright. Girl looking at you. Girl looking at. Just bring it up a bit. Okay. Girl girl girl looking at you girl looking at you Girl looking at you girl looking at you Girl looking at you. Okay, so I'll take the from this one below. Girl looking at you. Take this and let's see the girl. Girl looking Girl looking, girl looking. I'll take the girl from the top. That's a good word. Let's do this. I'm pressing my key commands. So when I press the T button, it brings up my drop down list of controols for my mouse. Oh, I can just change whatever I'm using now t another tool if I click the scissors tool or change the main tool to the scissors. Okay, yeah. Right. Alright. T and I brings up my scissors. Double T brings up the arrow, you know, beautiful. Bless the Lord. Girl king, eh? Girl king, eh? You. Alright. Let's hear it looking at. King head. King head, girl, King head you. Alright, so let's take that. I don't want to stop looking at. Right. So we have let's see, let's see what we have. I don't want to stop girl looking at you. Because I love you. It at a two oh. A two, two, two, oh. I don't want to stop, right? I don't want to step. So let me finish with this. What happens when we tune, we can just copy and paste to tune instead of tuning this tune and the one next to it, you know, and have an extra work. So that's why we have to have our workflow set out. You know, I like this looking at you here. They're looking at you. I do I do do do, oh, do I do do do, oh. Alright? So that's that. Let's see what it has below here. 'cause I love you. I do, oh. Alright, lead that to the co we have up here. Okay, another thing if you realize that you know, we don't need this truck, we can delete. You don't want unnecessary trucks on our real estate. Let's open the key caster for a while, so you can see the person. Even though by now, it's likely that you could have picked up some of my commands and so. Alright, so that's that, right? That's that. Okay. Yeah. Alright. Key casters come up there. Alright. Stop there kay. So what we can do here is just feed, basically what In the event that, you know, notes with respect to our vocals are cut off for a seamless transition we can feed. So, you know, I don't stop ging example, listen, as I play. Stop, girl, stop, girl. A, a sudden, that cuts off. Let's have a feel. Stop, girl. Stop, girl. Also pay attention. You can go to the left in your region parameters. If it's disappear like this, press back I and you click the disclosure triangle by more. This one is the fade out. The start of the region or the clip you can see, is the fade in. So if I had to say click fade in, you would see fades coming in there on your left right here, on your left right here, no pun intended. Let's go. Outside here, let's make the out. Some more, but not so much as to cut off unreasonably the note at the end, close to the uh, the out part. Let's do this. Add on, stop, girl looking. You can cut off some of that breath there, if it's unnatural for you to taste. Add on stop girl looking. Add on, stop, girl. So we cut out some of that, um, sudden sudden breath. That sudden breath ending. Let's go again. Add on stop, g looking at you right? Also, if you have any background noises, there can be a more seamless transition feeling out of the noise because the thing about it is someone may not notice that the noise is there until it cuts off suddenly, especially once this audio region is amplified by your feeder level increasing by any keen plug ins by a compressor and lastly your limiter. It can tend to bring up the noise flow noise flow will increase once you increase keen certain parameters of your audio region jurisdiction. So let's go. You. Listen to the background. Ging head, Ging head. Yeah, you hear, like a little wind cutting off you. That's your background noise or your noise flow. And this is very perfect for recording artists who want to record themselves and mix and master themselves so that they can understand the conditions that may exist because you may not have the budget to fully isolate your room or build an additional room. So you know in addition to using your noise gate that I have here or you have there after you record, when the gate is opened, when the signal comes through, you can pick up some noise. But the key is you have to have a good signal to noise ratio, which is more of this signal of the vocal than the floor noise. So that when it's playing it's reasonably the noise flow is reasonably imperceptible. Listen. They're looking at you. You realize that you hard hearing noise here? They're looking at, they're looking at you. And then around this area, you may hear it and especially here. They're looking at you. Okay, so let's fix some of that. What you can also pay attention to is that if you have background noise here, you can look for similar background noise that seamlessly blends into n. If you have an audio clip on the right where the arrow has increased here. You're looking at you they're looking at you. They're looking at you. Okay, so we'll work with that for a while. Alright, so we have our feeds coming in. I don't stop. They're looking at you. Because I love you. I It's right, yeah. Who have you had? In this area where you see there's a cut between the waveform, we are lucky that it doesn't have a pop or click. Let's listen to make sure. Love you, add, love, you add, love, you add as I love you a too. Okay, so we have no pop or click sometime. If it ain't broke, don't fix it. Have you to AT AT Oh A two, A two, A two, oh, a two, two, two, oh. I do. Come here, check your inspector, fed in, drop it a bit, to get back some signal. So we start of the note. A two, 2a2a2 22 Oh. A two, two, two oh a two, two, two, oh. Right. Girl king, you cut off here. Right now, in editing, command and your arrows, that command is your friend left up to zoom in out and move around with your mouse. Girl okingO girl girl, eh? Sometimes if it is that when you play your recording pass, if you don't hear any sudden plays to a point where it's a bit annoying or distracting or any click or pop you don't need to feel. So, for example, like right here in B 11 play, that's not right here. Girl. Girl. We can deal with that, girl. It's not in your face. It does not destruction of a pop or click so far. Girl king, eh, O. Right here, we can fill out here. So throughout this session, you'll see me feeling and cutting to ensure that that's what I want before I tune, okay? To. Okay. Then sometimes you might not want to cut up your adoigional clip too much because doing that can make the background noise and it cuts more noticeable as opposed to if you were to just leave them once they're in key and let them play continuously. You know it's like, you know, in the sense of gluing the chuck together to be more consistent because the constant dropout even if you don't hear it, you may be able to feel it with your ears, right? Go. So that's that. So we'll use that for the chorus, right? So you can make a little note on this side. Let's take out some of these lyrics here as it's already recorded. And what I will do is make a note. Chorus. Done. So let's put a note. I love this note par, digital note par. It really helps you to flow and map out what you have done so you can measure your progress and know what you need to do, right? So now we're on this one. Let's go. Alright. So let's go here now. So a point a note, we are going to play this. Let's set this cycle boundary, the cycle boundary to this point here. Beautiful. Right, so let's listen to that. Now, when you click here, the alternate tis, A, B, and C, you can also see what other ticks they are by showing click showing active. I'll show it at the bottom. So you click this arrow, it can send this one here, pay attention to the form, so you know that it's sent up. It has these two these notes here, thin line. The one has a thick line, and this is a thick line. So when I send it up, you'll see that these notes with the thin line came up here. Look. So again, these notes with the thin line right here. Okay. So send back, send this to the top. Let's listen to that. And we can choose between alternate is. So in the event that we want to split stuff, let's listen. Love and how she dance around I love my feelings soft. Hey. Yeah, you're rolling like the ocean. Baby come into me. So let's take it bit by bit, so let's go. We'll have a first and another one. I will select the best one, okay? So we'll bring this down. Delete. Go to B. Okay. That mean we can just select different parts. Okay. Bring this down. Tell it. See, so right. Let's listen to that. How you dance around? How you dance around, I love, Ma. Right. Let's make sure flexon follows off playing around with that early on. Off Off Off, yeah. Okay. As she dance around in. So from how she dance let's go. As she dance around, I love Ma How she dances loving how she dance around, loving how she dance around. I love. My the raven as you dance around the raven as you dance around the love it as you dance around. I love, my feelings are soft. Hey. Right. That's again, sometimes it takes a bit of time. The raven as you dance around in the raven as you dance around. Damn it. Well, definitely not this one cause there's something in the background, I guess a glitch or something. The raven as you dance around. The raven as you dance around. Love as you dance around in How you dance around, I love. I love. I love. Alright. In the love out you dancerm Theve out you dance. Let's see it from here. Dance around. Dancerm in Around sounds good. Tom, too, um, to am. They wam, they wham. Should that's it. Let's put apedia. They wm. They wm. Feel too sharp. They wm, E the wam. Let's hear the other. Laughing how she laughing how she dance around, laughing how she dance around, Laughing how she dance around, I login how she dance around. I love. My loving how she dance around. I love. How she dance around? Definitely not this. Dance around. Too buzzy. In love, M I love. I love. Right, This so nice in love. Yeah. Alright. In love. Loving how she dance around. Loving how she dance around, loving how she dance around. Them. Them. I just hear something. Oh Dancer wham. Drag it across. Dancer wham. See how we get that to be seamless or transitioning smooth. Dancer wham. Check that out. To a cross fair by going to the over the middle like that. Dancer wham, Dancer wham, dancer wham. Right? Right. Dancer wham I love. Alright? So you choose the top as they mean. Dance. Right. 7. 7) editing 2: Continuing from before. Right. Let's play. Dance or wham. Dance or wham. Right, so we got the dance, right? Cross feed, prevent pop or click or sudden end of breath. Dance or wham, dance or wham, dance or wham. Dance or um, I love. Dancer am I love. In love. Sun I love. I like this love on top here. So let's take this off. It's like that. She up. Up, up. Such that. Love and how she dance around. I love. In love. My feelings are soft. Hey. I love. Alright, up to in love. Let's go again. In love. My feelings. My feelings. Soft My feelings are soft. Better, let's check this one. My feelings are soft. I like this one. Yeah. In love. And you can delete as you go along if you don't want certain recordings because it can clear the real estate and give you a sense of satisfactory when you are seeing progress to move towards other audio regions. My feelings are soft. Hey. My feelings soft. Hey. Right, on your own, right up. My feelings are soft. Hey. Like this hay. So take that hey? Hey. Do eat that Up up again. Love and how she dance around I love. My feelings are soft. Hey. A, you're rolling like the ocean, Bb. Yeah, you're rolling like the ocean. Baby, come into me. Yeah, you're rolling like the ocean, baby. Coming to me. Coming to me. Mm hmm. Oh, definitely to be coming to me. Coming to me. Yeah. Yeah, you're rolling like the ocean, baby, coming to me. Coming to me. Right. Yeah, a few fans there. Yeah, you're rolling. Yeah, you're rolling like, you're rolling like the ocean. You rolling like the ocean. G you rolling like the ocean. Yeah, you're rolling like the ocean. Yeah, you're rolling like the o. Yeah, you're rolling like. Yeah, you're rolling, like the Yeah, you're rolling like the ocean, baby, B. Come. Yeah, you're rolling like the ocean. Baby B. Like the baby. Here. Hey. Yeah, you roll it like the ocean. Baby, coming to me. Coming to me, coming to me, coming to me. Coming to me, coming to me. Come, like this park, you roll it like the ocean. Baby, come Um, Baby, coming. Baby, coming. Alright so let's listen back. B B to me. He Okay, that Bab. Right, so we're going somewhere. Coming to me. Yeah, you are coming to me. Coming to me. Let's go. Let's go. Top. Right. Let, that. Let's see what here says. Yeah, you're rolling, you rolling, lady, ocean. Be bad, rush me, ya, you rolling ladie, ocean. Yeah, you're rolling like the ocean. B B, Rush. Yeah, you're rolling, like the ocean. By B, Rush, M B. Don touch me, B, B. Yeah, you're rolling, like the ocean. By B, Rush. Alright. Yeah, you're rolling the ocean. B, rush. Little thing as I go along, free up my real estate. Ya, you rolling i ocean. Be B, rush. Yeah, you're rolling. Bring it up a bit. Mm. Yeah, you're rolling the ocean B. Rush me, bathe, don't hush me, B W M bath W M bathe. Out of breath there. Wush me, bathe, don't rush me, babe. Touch me, B. Rush, me, bat rush me, bat rush me, babe rush me babe, don't rush, we B Rush, me, babe, rush, me, B, rush, me, B, don't rush, me, B, Don, touch, Rush, me, bat. Do touch, rush, me, bait Don touch. Rush, me, bait the hoo touch. Rush me, babe Rush me, babe. Don't touch. Let's see there me, me, me. Babb, rush, me, B, don't touch. Babb rush me, B. Don't touch, me, B. Yeah, you rolling Lyo Baby. A, you rolling, yo. Baby. Whoa, a bit humorous. Yeah, you're rolling, laddy ocean. Be coming. Right. That's that. Yeah, you're ly, addi ocean. Be coming to me. Me. Yeah, you're ly, addi, ocean, Bb Ya, you're rolling, addi ocean. Be coming to me. You rolling, yo, baby. Coming to me. Coming to me. The let's see. Yeah, you rolling, lad, yo baby. Come. So I'll take this one. Yea. Ya rolling, addi ocean. They come in to me. Ya, you're rolling, lady ocean. They come in, touch me, baby. Tush me, B. Touch me, baby. Yeah, you roll, touch me, baby. There's baby here. Let's see. Hm. Rush me, babe. Don't push me, baby. Yeah, you rolling dio, babe. Yeah, you rolling Lithio, baby, coming to me, coming to me. Coming to me coming to me. All right, let's see. Yeah, you're rolling thio Baby. Okay. Yeah, you're rolling should be coming to me. Yeah, you're rolling Lio baby, coming to Baby. Baby. Be Ticks. Let's see. Give you rolling like a ocean, baby, coming me. Coming to me. I give you a like a Yocean baby I give you a like a ocean, baby, coming me. 8. 8) editing 3: Ocean, baby. Coming means to him. I love. My feelings are soft. Hey. You road it like the ocean. Baby, coming to me. Coming to me. Yeah, you road it like the ocean. Baby rush me, babe don't hush me I like baby. Moving. Okay, so that's my voice. I'm finished with that. Let's see what's at the bottom here. Touch me, baby. Yeah, you're rolling lady Ocean Baby coming to me it. M i. Alright. That's that. Let's see what we have to delete. Delete those two, 'cause we're already unified what I wanted for Voice two. Let's go. For Voice one, sorry. Let's go to Voice two. Select mute Old with me. Mm, here I be. My eyes on you, and I always want to be with O with me. Mm, here I be. My eyes on you and I always want to be with 9. 9) Editing 4: Alright, so we have this for this area, this region. Happier to have. Glad that I see here with me. Right? And we also have that I see you Oh with me. Oh. Here I be. My eyes on you, and I always want to be with you. Let me do, let me be man. Always want to be Oh, let me see you. Mm hmm. Alright. We have this below here. Let us see. Well, I could delete that. That's a breath. Unnecessary. Do, let me be your man. Let me be man. Let me be let me be man. Let me be man, man. So we'll sich in between the sea in case you want this or that. Continue? Continue. Oh sha, baby. Rush me, way, don't hush me, B. Here you rolling. Ocean. Sure, let's get an end for that coming to me. To do, two oh. Well only that ocean baby coming to me. Alright, Option click jug. Yeah, you're rolling, Osha, coming to me. L Osha. Coming. Rolling light. Ocean. Come. Taking the pot from you, the baby. Yeah, you're rolling light ocean, baby. Coming to me. Baby. Navigate. Oh, ocean, baby. Ocean, baby. Oh, ocean, baby. Coming. Oshun, baby. Com. Take out that breath. Information there before it sounds too choppy. Look at a little feet. Ocean, baby, coming to me. Ocean, baby, coming. Oshun, baby, coming to me. Oh shun, baby, coming to me. Bring it in. Nice. So we rolling with this. Okay. Rush, me, babe. Don't hush, me, baby. Baby, B, rush me, babe. Don't hush me, baby B. Okay. Do, let me be your man. Okay. I'll take the one at the top. Let's here. Got that. Down to the bridge, now. I mean, the Come in your notes. Chorus done, se one s two. And remember, before we copy across the chorus to other parts to fill the wholly autobi structure of the entire song, we would like to tune the vocals and key and then copy and piece, okay? Now to the bridge. Of me like you Na someone else. Of me like you N someone else. Of me like Neva someone else. I look at you, and I see my Love someone else. Sometimes tightening has to be toted as well. Love Me like you never love someone else. I look at you and I see myself. With you. I look at you and I see myself. With you. I look at you and I seeing myself. With Love me like Love me like you, N. Love me like you never love someone else. Okay? Not much takes. So switch between, so almost finished. Love me like you. Love me like you, N. Love me like you, never love someone else. Love me like you, never love someone else. Okay, I take the one the top. Butt not necessary. Sometimes you just got to learn to make decisions. Don't be stuck for 15 minutes switching between two takes, you know? Make decisions, what is necessary, what you need. Oh. I look at you and I see myself with you. Not needed. Okay, so that's it for the bridge. Let's just go through some of the timing. Of me like you someone else. Love me like you live, I love someone else. I look at you and I see myself. With you. I think that was came a little ly. Now, it's small than that. See myself. With you. I look at you and I see myself. With you. I look at you and I seeing myself. With you. I look at you and I seeing myself. With you. I look at you and I seeing myself. With you. Love me like you never love someone else. You Love me like you never love someone else. With you. Love me like you never love someone else. Great. Check for the feeds. I look at you and I sing. I look at you and I look at you and I look at you and I I look at you and I see myself. O I look at you and I see myself. With you. I see myself. With. I see. With Wi Wi, with you. But with you. With you. Love me like you, never love someone else. Love me like you, never love someone else. Mm, you don't think this is any trouble in the start and end but ism. Love me like you never love someone else. Okay. Love me like you never love someone else. I look at you and I see myself with you. Love me like I look at you. I look at you and I sing. I look at you. And I I look at you and I sing. Right. Sometimes you play around with it with the feel to see what you want. Sounds reasonable. That's reasonable to me. Alright? Let's go across here now. I love me like you never love someone else. Love me like you never love someone else. I look at you and I see myself with you. Love me like you never love someone else. Okay, let's go here now. Ha me. Glad that I see you with me. Here I be. My bye Hay glad that I see with me. That I see you with me. Here I be. My bi's on you and I always want to be with you. Let me do let me be with. Oh, so baby but baby hush me, baby. You wrote it, Osha, baby, coming to me. Okay. Let's check the fed in between. The I see you all with me, he. Here, keep them. Here. Keep. Here, keep him. Here. Keep here. Keep. Here, um Keep. Here. Keep, here. Keep them, here, bet of anything but nothing to work. Here, be be he. Be he. Be heap. Be he. Here, be he B, B, mm, B. Mmm. So you just set out to see if you make it better. We boom. We go, he boom can come down to the end with the corner. Left corner. Change tool. Be boom, he he boom. Be he boom, hey, he boom he he boom, boom. Boom, hey, boom, he, boom, he. Boom, here. Boom, hey, boom. Boom, here, boom. Boom, boom. He boom. Mmm Mmm. To the little click, what's this here. Mm hmm. See that soothing a bit. See this here here. This is a click, 'cause if you listen, Mm hmm. All right. Again. Come again. Mm hmm. Mm hmm. Mm hmm. But before I click here, listen I get a click. Mm hmm. Alright, so we get up that. Mm hmm. Mm hm. Alright, a little bit again. Mmm. That wasn't fate. Mmmmmm hmm. Click again. Mm hm. Click on, right? Okay. Sometimes it might be the sound of your tongue clashing against the roof of your tongue. Sorry, this sound of your tongue clashing against the roof or parts of your mouth. Making a whipping song trends a click song, according to how you interpret it. Mm. Here, What a whip or click song, sometime might be saliva. So you might have to take all those different nuances in your recordings. Me, Mmm. Here, me, Mmm. Here, I be. My eyes on you, and I always want to be with you. Let me do, let me be man. Ocean. Oh, son. Oh, son, baby bear. What's that food right there? Oh, son. Baby, bear. Rush me, baby, don't hush me, B B. Yeah, you rolling. Oh, son, baby, coming to me. Okay. That's that. Let's go here. Listen for those feeds, if needed. Love and how she dance around, I love. Feed it you know bid. Love and how she dance around. I love. My feelings are soft. Hey. Yeah, you roll her leg. Hey. Hey. Yeah, you're rolling the Oh. Oh, you can listen and you can pay attention. Let's do that. Listen to this breath, yeah? He yea yea. Again. Yeah. Yeah, they cut off on the breath. Let me do that. Come on, Chief Z. Listen. It makes a smoother transition between the separated breaths as before. So without? Okay. With are you. See? That's why editing in context and appropriately with a plan is important. You know, do you want your your breath to be transitioning in? Do you want breaths at all? Do you want breath sometimes taken out other places according to your material and your aim? D right? So he left right next. Course. Yeah, you're rolling like the ocean. Baby coming to me, coming to me. Coming to me, coming to me. Yeah, you're rolling like the ocean. Baby, Rush, maybe. The hoonTss may be the hoonTss the hoonTss may be. The hoonTss may be a, you're rolling, like the ocean, baby. Coming to me, by coming. It's like a blockage in the breath. Click. Coming. There. Coming. Okay. Done. Baby, coming to me, baby, baby, coming to me. Mm. Okay. I ain't I should dx I'm I love. My feelings are soft. Hey, G you rolling like the ocean. Baby coming to me. Coming to me. Yet you roll it like the ocean. Baby, rush me, babe. Don't hush me, baby. You roll it like the ocean, baby, coming to me. That's thought come up here now to the chorus area. Mm. Tick smut. Add on stop B Add on stop, girl Check for feds if needed. Add on stop. Add on. Yes, it's starting. Add on. Add on add on that. Out Ad Adison again. Puck. I don't reduce to that. I don't stop there looking at you. Girls, I love you, I do. Girls I Girls I love you. Girls, I love you, I do. I do. I do, oh, I do, oh. Ooh, oh. Ooh, oh. Mm, oh. Mm, oh. Mm, oh. Mm, oh, do, do, do, oh. Okay, so that's basically the chorus there. I don't stop girl looking at you. 'Cause I love you, I do. A to A two, oh, I do, two, two oh. I don't stop girl looking at you. 'Cause I love you, I do. A too, a too Oh. I do, two, two, oh. So extras here, in case I want to such. I don't I don't want to stop. Ging head. I don't want to stop. I don't want to stop Ging head. I don't want to stop Ging. I don't want to stop Ging head. It's breath actually stung cool, so I'll leave it in case I need it. I don't want to stop ging head. It's your transition into the other part if I choose it. They're looking it. You don't they're they're looking. You they're they're ing it. You They're ing it. You king. You. Okay. Let's go here. Ad stop. Should you mean timing of the I mean, timing of the main clips we have here or regions. A stop king. Okay. That's that. That's it for the editing. Now let's go on to the tuning. 10. 10) Tuning 1: Hi there again, all you engineer. This is tuning our vocals with flex pitch two. So, let's play this. I don't stop there looking at you. Bros AT A two, oh. Let's bring it back here. Don't need this. So edit. Okay. Ret. Let's just check something in. Alright. Undo edited project notes? No. Let's go here. Undo edited project notes. So yeah. Okay. Alright. Reflex pitches off. Go Okay. Alright. Nice. So let's get this show on the road. So get a sense of the key with the pit. I don't stop doging it. You Does I love you, atom. At a too, oh. At two, two, oh. I don't stop doging it. You Do I love you, atom. Atom. I do h Right. Okay, so come to the left. Check the inspector. Flex and follow. We put in that on. That's the able tuning protocol a flex pitch. So flex and follow on, press E to bring up your edit window, go to the truck. And let's put on. Let's put on right, flex. So we see it here, it's off, you put it on flex pitch. All right? You check it out. Show height flex, flex pitch. Okay, beautiful. And then what you do, you look for your notes. All right? Scroll along a bit. Scroll up or down, and you find your notes according to where they are and key. Alright. So welcome. So we're doing some tuning here for cult. Now, I want you to understand that with Flexpitch when you enable Flexpitch you would see these notes beams, these bars that I am highlighting with the mouse. They are representations of the vocal rendition or the vocal signals, for example, you can see this focal represented by this beam, this around here, and so on. So it's like you get medi notes. I'm not saying it is medi, but it's like medi notes in a piano roll. Look to the left, you'll see a piano roll here, and just a point to note, your light gray lanes lined up with the white keys and your black lanes or your darker gray lanes line up with the blackies and so on. Yes. This is a beautiful topic, and this is a wonderful way to adjust your focal rendition. So without food ado, let's go through a few parameters, okay? Let's hold on. Right. So let's add ons, stop looking at you. Add ons. Alright, let's listen. Okay, so a few parameters. So firstly, when you look at this, you'll see the node beam. Click it, it highlights and gets brighter, right? And you'll see a space, okay? There's part of solid with the color. There's a space at the top that is clear within the border of the blue. That just indicates, right? Showing you that that the node is deviated from perfect pitch. Okay? If it was perfect pitch, it would be perfectly in line. But, for example, let's say this lane here, the slide gray lane or I double click, that is perfect pitch. According to the programs setting, so let me undo that. Also to set it to perfect pitch, right click, you click Set to perfect pitch as opposed to double clicking. You can revert to the original pitch, and so on. This white line going through the node is your pitch curve. It represents your pitch and also it can give an illustration visually with respect to your vibrato and your vibrato goes up maximum of 600%. Look at the pitch curve that moves with it and it goes down 400 -400%. You can see another movement with the pitch curve. Let's reset that. Okay, right, back to hundred. So let's take a quick listen. So we have pitch drift, fleck fine pitch, pitch drift on the other side, four month shift, four month shift. Te to it. You're shifting texti up the sound for Bratto keen. So let's go with the top pitch drift. Okay? So I'll play it. Listen to it. Arrow, arrow, arrow. Pitch drift. Arrow, arrow. Right, so it's a different undo. Listen to the fine pitch. Arrow, arrow. Arrow. Right. Okay. ***** drift on this side. Arrow, arrow. Sounds natural, okay? ***** drift. Right. Let's go to the gain. It just raises. Strength to the signal, pay attention to your original waveform as I boost the gain. Arrow, arrow. Arrow. What I raised is volume for Batu. No, for Batu is a variation in pitch. Let me more precisely see a fluctuation in the pitch, right? Right? So the thing about it is if there's a fluctuation in pitch for pratu in order to get it centered around the pitch that you want, you can flatten by reducing it and get the curve flatter. Okay? I do. Nice. Nice. So let's listen at 100. Arrow. 600. Arrow. See? How often annoying that was. Come down. Arrow, arrow. And so on. Go up just like about one something. Arrow, arrow. And do 100%. Four man, Chef let's go in the texture. Arrow, arrow, arrow. Arrow, arrow. Arrow, arrow. Arrow. Okay. So that's just a few parameters. So let's go through these notes accordingly. You can also set to perfect pitch by control, clicking the back row, click set Al to perfect pitch, pay attention to the other notes, even though I'm in this area. Look at it here. Control click. Set A to perfect pitch. They switch. Control click again, set Alter iginalPitch like Command Z do it. Shift back, and so on. Beautiful. So let's proceed with the tuning. Alright, so with tuning, you don't have to be an expert, however, I encourage you to be. But with some listening and trial and error, you can begin to figure out your sound map of where you're supposed to be and of various alternatives you can be. So bear in mind that, yes, we want things on key. However, sometimes when it's perfectly in key, you might not get your feel, so you may at times may need to go a little off key. Any sense of off pitch to get an original feel, more realistic sound in terms of the vocal, and you may even get more fibe. So let's move along accordingly. Now when approaching your tuning, you can start either by manipulating the vibrato and listening to the sound. Or you can set them into perfect pitch or even start going through the fine pitch as per your direction or intention in context of what you are working. So let's proceed. Let's listen. Listen with the truck to get the feel of the key as well. Go. Add stop. Add on stop doing. Add on, stop, dir add on, stop. Add on. So you can use the musical instrument as your reference point against which you're measuring your tuning to give you a guide according to how you require to carry out your tuning. Add add stop. So let's go around a bit, okay? Let's test it out. A, stop. An An, stop on. Okay, so let's go up a bit to this and see. An, stop. Undo, Undo. So what we can do is jup a bit. Row, stop, arrow, stop. Arrows. Row row, stop. Arrows row arrows arrows. Arrow, stop. Right. So when tuning, right, even if you get the note, the intended note that you want to tune on key, the note right after, if it's off key can tend to distort what you're hearing and it may cause you to think that the intended note is off key just because you hear and other note right after it's happening so far. So it's good to play around with the note or notes surrounding so you get a better context of your tuning. Arrow step da A, stop. So let's flatten this cover a bit on here. Add stop. Add, stop. Flatten this cover, as well. Our own stop our own stop. As our own owns owns s s s, our own stop owns our own stop, our own stop, our own stop, our own stop owns our own stop. Cup of bits. Add on, stop, Add stop, dirt right. Add stop, stop, A stop, Ad stop, D our own, stop, girl, own, stop. Own, stop. Own, stop. Own stop. As own, stop, own, stop, own, stop. Own, stop, own, stop, own, stop, on, stop. Own, stop, own stop. Yeah. T speed buck. A own stop. On, stop. Let's go down my bit. Drop this. Let's manipulating accordingly. Drop the picture. Aron, stop, dirt on, stop, dirt on, stop, dirt on ons, Aarons, Aarons. Our own stop, our own stop, our own stop, our own stop, our own. Our own stop, our own stop, our own stop, our own stop. Own, stop, on. So you can hear the different variations, okay? Too bad. A, stop, on, stop. Own, stop, on, stop. Own, stop, on, stop, on stop, do stop, stop. There king. Own stop. Own stop on. Arrow, stop, stop. Arrows. Arrow, stop looking at you. Arrow stop. Arrows. Arrow, stop, arrow, stop. I don't stop there. I don't stop there. I don't stop there. I don't stop there. I don't stop there looking. I don't stop. I don't stop there looking at you. Alright, so we got to on the stop. I don't stop, don't stop. Let's check here. I don't stop there. I don't stop there looking at you. Okay, by the, you know. King it, you ing it. King it, you ing it, King, ing it. Ing it, you ing it, you ing it, you. Let's read again to hear it with the instrumental bit. King it, you King head you King head, you King head, you King head, King head, you King head, you King head, you King head, you King head, you King head, you King head, you King head you King head, you King head. They're looking at you. They're looking at you They're looking at you. They're looking at you. They're looking at you. They're looking at you. They're looking at you. I don't stop du looking it. You I don't stop. I don't stop. I don't stop. I don't stop doing it. You I don't stop I don't stop. I don't stop. I don't stop d looking it. You I don't stop. Just don't want to Let's tweak it a bit. A, stop, stop. A, stop, stop, stop, stop. Yes, much better. A, stop. A stop looking at you. Alright, I'm satisfied with that portion there. Let's get wrong to the next. Goes I love you at girls I love you. Girls I love you at. Let's love. Let's just talk about bit. Girls I love you at two. Girls I love you at two. Girls I love you at two. That's two. Girls I love you at two. At two. Girls, I love you at two. Girls I love you at two. Gs, you are two, goes oh you are two. A two, A two, oh, goes oh, you two. A two. Go, you, two. A two, A two, oh. Goes, you, two, you are two, you are two. Gos I love, you to ITT I, you at two. Those are, you are two. At two, oh, those are you at at dosa you atom. Ton Ato, dosa you atom. Aton, dosa you atom. Aton. Does I love e two. A two, A two, Oh. Does I love few are two, few are two, few are two. A two, A two, Oh. A two, A two, A two, oh a two. A two, A two, A two, Oh. A two, A two, Oh. A two, Oh A two, Oh A two, Oh. A two, Oh. A two, Oh, a 202-020-2020. A two oh. Does I, to ton A two, Oh. Does I love to ton a two, Oh. A two, Oh. A two, Oh. A two, Oh. A two, Oh. A two, Oh. A two, A two, Oh. A two, Oh. A two, Oh. A two, oh, a two, oh. A two, oh. A two. Sometimes you have to play it over and over to ensure that you get the right key, you know? A two, oh. A two, oh, a two, oh, a two, oh, a two, oh. A two, oh. A two, 2a2a2, two. A two, two. A two, two ph. A two, two, 2a22 a 2a2a2 22a2 a 22a2, two, two, two, two, two, a two a two, two, two a two, two, two, a 222a2 22i2 2a22 2222 or 222 or 222 or a 222 2i2a2 2 222-222-2222 or right. Let's play it back now. I don't stop looking at you. 'cause I love you. I do. I do I do, oh, I do, two, two, oh. Alright, I'm satisfied. A stop, girl. A stop, girl, looking at. A stop, girl, looking at you. Alright? Sometimes when you're tuning, you can get things good, and then you check back in about an hour, even a couple of days after and realize you may need to retune due to your ears, maybe having fatigue or so and so it's good to also have a fresh perspective from someone from someone other than yourself. This takes time. I don't stop. I don't stop, dir Let's take off the edge off of that. I don't I don't stop. I don't stop d looking at you. 'cause I love you. I don't I don't stop. I don't stop. I don't I don't I I don't stop. I don't stop the looking at At Am I don't I don't I don't I don't stop d looking at you. As I love you a 2a2a2, Oh. A two, two, two, oh. Right, I'm satisfied there. So now I'm gonna copy that chorus. I don't need these up here. These are all cross ticks. I don't want to stop getting it do Do, do, do. Alright. Let's copy and paste. Do Oh. In short, to be careful that you select only what you want to move before you select other things and move them and find out about 300 moves later that you need to undo that because you did something that you need to, you know, undo it before the undos. Get it. You don't want to be too far along, and then you have to re edit something before the undos or anything like that. Ooh, ooh. Oh oh. I don't stop doing it. You foo. I don't stop doing it. You 'cause I love you. It too I do, oh. Boom, boom. Alright. So that's it for tuning the vocals of the chorus. That's fundamentally some of the things that you can execute in tuning with flex spitch and you can even go into more detail into your adjustments as per your hearing and what's required in your taste of music. So that's it for tuning the chorus, now the Voice. 11. 11) Tuning 2 : Okay, so we continuing. Get you roll in the ocean get you rolling. G you roll G you roll in get you roll in night G you roll in G you roll in night G you rolling get you roll in G you roll get you roll in. Get you. Hit your rolling. Hit your rolling. Hit your rolling. **** your rolling. Hit your rolling hit your get your rolling get your rolling, D. Get your rolling. Get your rolling. Get your rolling, D. Get your rolling, Do. Get your rolling. Get your rolling rolling, de, rolling, deep. Rolling, deo, rolling like do. Rolling like the ocean. Be rolling like the ocean. Rolling like the ocean. Rolling like the ocean. Rolling like the ocean. Rolling like the ocean. Rolling ny ocean. Rolling ny ocean. Rolling ny ocean. Be rolling ny ocean. Rolling nighty ocean. Rolling Rolling like the ocean. Rolling like the ocean. Rolling night the ocean. Rolling like the ocean. Rolling like the ocean. Rolling like the ocean. B rolling like the ocean, rolling like the ocean. Rolling like the ocean. Be rolling like the ocean. Be Rolling like the ocean. Be rolling like the ocean. Rolling like the ocean. Rolling like the ocean. Be rolling like the ocean. Rolling like the ocean. Baby, be rolling like the ocean. Rolling like the ocean. Rolling, like os and By rolling like os and B rolling like yos and By rolling like os and By rolling ny yos and rolling like os and rolling like os and Billy he bad. Alright. By y bad. By bad. By bad? Baby. Baby, Baby, baby, R, R, We Rush Baby, Rush Baby. Baby, Baby, rush baby, baby. Baby, with baby, baby. Baby, the ocean. Baby, rush the ocean. See what's going on. Yos, Billy Hebe, R Yosm Billy Hebe, R Yosm Billy Hebe, R B Hebe, Russ Yeosu, Billy Hebe, R Yosm Billy Hebe, R meat, Yosm Billy Hebe, R Yocean, Berry Bay, Berry Bay and Berry Bay, Russian Berry Bay and Berry Bay, and Berry Bay, Russian, Berry Bay, Russ Berry Bay, Rush Berry Bay, Berry Bay, Ruston, Berry Bay, Rush ocean, Berry Bay, Yocean, Bay Ocean, BaOcean, Berry Bay, ocean, Berry Bay, Berry bay. Bim, R theos, Bros, Bim, Ros, Brim, ramp, Dos, Brime, Russ Mb as Mb. Trust me, bait. Trust me, bait. Trust. Trust me, bait. Trust me, bait. No thrust. Trust me. Trust me, Trust me. Trust me. Trust me, bay. Trust. Trust me, bait. Trust me, bay. Trust me, bay. Trust me, bat. Trust me, bat. Trust me, babe. Trust me, bay. Trust me. Trust me. Trust me. Trust me. Trust me. Rust, me, B. Trust me. Trust me. Trust me, B. Trust me. Trust me, B. Trust me. Trust me, rust, me, rust rust, me, B, no rush, me, B, no rush me. Ben, B, rust me, Basin, B B, rust, me. Ton, B, Russ beep Don B Russ Mepton B Russ meep then Bb, Russ meeting, Bb Russ Maton, Bb Don, B Rustton Baton, Bb Rushton, B, Rushton, Bb Rustin, Bb Russ meet Then, B, B, Rushton Baby be Rush meton B B, Rushton B B, rush Maton, B B, rush me B, then, B, B, rush me Ban B, B, Rush M, Rush, me, B, the Rush, me, B, the hon. Me, Bit me Bai Me Bi the hon The hound so we are progressing with this tuning. The wound pus. The wound pass, Mave, the hone pus. The won puss, Mave. The won pass, ma the one pass, Mave, the won pass, M the hone pass Mave, the hone pass Mave, the hone pass Mave. The hone pass Mave, the hone pat Bay, the hone pass me baby Bay, the hone, pat Bay the Brush me, By the hoonPsm babe. Brush me, Babe, the brush me, rush me. By bear, Rasminf the By bear, asm. By bear, Rasminf the B bear, Rapinb Don't askme Don't asme Don't asme. Don't ask me rush me, B, the home ask me rush me, B, the home ask me, rush me, B, the home address me, By the home ask me, rush me, Bay, the who ask me rush me, bait the home ask me be rush me, B then ask me be as may be as may be as may be. On us may waive us may waive on us may waive on us may waive as us may waive us may w s may we on us may we on us may we on us may us may on us may as me was me was me, babe. Us me babe us me was me want as me, be only las B us me don't ask me it. You on the ocean. Baby, sm Don I smell bet I smell. I smell. Let's check something. I smell bi. Asmev Asmev Asmev Asmev Ame Ame ame Asme Asme Asme Asmev AsmeTs Ame Asmev Amesme Ame Asmev as me Ame you on it like the ocean. Baby Rasmbe Dasmeb G. G you roll here, y Here you rolling. Let's end up the gear here a bit. Here you roll here, daddy. Here you rolling. Here you roll in. Here you roll in. Here you roll in, Here you hear you hear you. Here you roll in. Here you roll. Here you roll. Here you roll here, you roll here, that here, you roll here. Here you roll here, daddy. Q. Care you who all in, addi, care you who roll in. Care you who on. Are you who all in, care you on. Roll in. Who all in. K you who all in, you care you who all in, laddie. Kay who all in. Are you who in care who all in. Okay. Are you who all in. Carey who all in. Care you who are you who all here, lady care you who here, lady. Are you who all in. Carey who in. Carey who on. Are you around. Carry around here, are you around here, are you around here, that carry around here, care you. Carry you around here, are carry around are you round, are you around here, care you around here, are you. By. Care you all here, bake you By. K you roll it. By roll it, that K you roll it, K roll it. By you roll it, K roun K, K round that K roll it. K round that K K round round that K round it K round that K round K round in that. K all in Id, all in K all in, d. Okay, go up. Okay you all in Id. K all in Id G you all in idea. Let's just chock it up. K you all in Id. Okay. So you went through some experiments that didn't work. Let's go there. K all in KK you in ID, K you roll in. You roll in. K you roll in at I are you roll in, Addie I care you roll I are you I are you roll in. I care you roll in at Eocean I care you roll in, Addie. I care you roll in. I care you roll in. I care you roll in. I care you roll in, ayo. I care you roll in a ocean. I care you roll in, ayo. Do the ocean. You're rolling at ocean. You're rolling ateo to get your rolling. Yo, you're rolling that eo. You're rolling that eo Sing. I at you rolling that eo. You're rolling that eo. You're rolling that I care you rolling. I are you rolling. I care you I care you rolling. I care you roll in, that eo I care you roll in, lady. I care you roll in, lady. I are you roll in. I care you roll in, that eo. I care you roll in, I care you roll in, y. I care you roll in, that I give you roll in ideo. I kill you roll in, idea. I kill you roll in I kill you roll in, do I kill you roll in, do. I kill you I kill you roll in, ideo. I kill you roll in, ideo Ios and Idios and Idios and roll in, dos and roll in, do. Roll in dos and roll in, do. Roll in dos and roll in, dos and roll in dos and Okay. Roll in ocean, roll in ocean. Roll in ocean, roll in, o. Roll in ocean. Roll in ocean, baby. Come roll in ocean, baby. Baby, come Baby, come, baby, coming, baby. Baby, come in me, baby. Coming. Call in o, G roll in y ocean. Roll. Kill your roll in it. Kill your roll in it. Kill your roll in it. Kill you roll in, that eat. Kill you roll in that eo. Kill your roll in that eo. Kill you roll in that e ose. Kill you roll in that e ose. Give your roll in that e ose. Kill your roll in that eos. Kill your roll in that e o soon. Give your roll in that eo. Give you roll in that eos. Give your roll in that eat. Give your roll in that o soon. You that I give you I give you air that. I give you mow air that yoke I give you. I give you one. I give you wear that yk I give you a, that I give you air that. I give you air that e. I give you air, that heat. I give you on it. I give you that I give you we that I give you air that I give you roll in. K you roll in K you rolling, K rolling, addi, K rolling, addi you're rolling, K rolling K you're rolling. K you're rolling, K you're rolling, K' rolling, that ocean. K you roll you're rolling. You're rolling. K you're rolling that ocean. K you're rolling, K you're rolling, K you're rolling, that EO I can you a lady ocean. I can you roll it. I can you roll it I give you give you give you it lady give you a lady ocean. Give you roll it lady ocean, baby. Okay. Give you Babby rush me, babe. Don't hush me, baby. Give you a lady ocean, baby, coming to me coming to me coming coming, coming, coming, coming. Coming, coming. Coming, coming. Coming. Coming. Coming. A coming, leave. Coming, leave, coming. Coming, Coming. Coming to me, coming. Coming coming to me coming to coming to me, coming to common. Common to me, coming to Common to me, coming to me. Coming to me, coming to me. Common. Coming coming to me, A coming to me. Coming. Debe coming. Debe come. Debe coming, Db coming. Mnh unh. Deb it. Debe coming. Debe coming. Debe coming. Debe coming. Hm, it tricky. Debe coming. Debe coming. David, coming. David, coming. David, David, coming, me. Deb it coming, me. David. Deb. David, coming. David, coming, me. David, coming. David coming. Deb it, coming. David coming. Okay, let's play a bit. Ivy, coming, an Ivy, coming, Ib. Coming, me coming, me, coming. Coming, me. Coming. We coming, coming, coming, coming. Coming me coming, me. Coming, coming, coming, coming, coming, me Coming to me. Oh lady coming. Coming to me, coming to me, coming to me. Common to me, and common to me, common to me, common to common, common to common to me, common to common to me. Common to me, common to me, and common to me, common to me, To me, and to me, to me, and to me. To me, to me, Holly. To me, to me, m. To me. To me, E. To me, I. Ocean, baby. Coming to me. If I go w up a few. Ocean baby. Coming to me. Ocean, baby. Coming to me. E. E. Coming to me, E. Coming to me, E. Coming to me, E. Coming to me, coming to me, coming to me, E. Coming to me, coming to me, mm. Okay, and that's it for the first. Let's take a lesson. D and how you dance around. Dave and how you dance I'm in love. My feelings are soft. Hey. Give you only like the ocean. Baby, coming to me. Coming to me. Give you only like the ocean. Baby shm no shmebyG only the ocean, baby. Come in me. Okay. Now moving on to the second zz. 12. 12) Tuning 3 Concluded: Happier. Bless I see you with me. Be My boys on you, and I always want to be with you. Let Let me be with. Welcome again, so we're just going to finish tune out the rest of vocals. Let's go. So let's listen to this. Flex is on. Let's go. Happier to have. Happy. Happy Happy. Happy ahead Happy. Let's check this. Okay. Let's here. Okay, let's go. Happy and happy happy in A. Okay, so when tuning, just a point to note that once you are good with musical skills, you observe your piano roll on the left, and you can match it up. So, for example, here is C. And it coming down, this will be B. Okay. Then you have E sharp. You have E. You have G sharp, and so on. Okay? And then you match up your notes accordingly. But sometimes you may not get it on key, even though you are putting it in the red key, it may not sound, right? So you may have to manipulate it until it sounds correct to your accord to your goals. Okay? So let's check to here. This is C, C sharp, black, D, D sharp. E, F, F shop, G, G shop. So let's go. This is E Mjor on a relative minus F shop right now. E mejor has shop A E shop. B, okay. A to G shop. So let's test it out. Happier I have. Happier I have. So let's send it up to G shop. Happy. Sorry. Let's go up. Happy Happier to have. Happier. Double click again. Put it in G shop. Happier ahead. Happier ahead. Happier to have. Happier to have happier to have happier to have. Happier to have Ha Ha. So check something. Have Have. That's unnecessary. So, let's go back here. Alright, Telesta son. Happier, happier happier happier happier Just song little down. Let's bring it up. Happier have. Happier. That's undo. Happy hap hap hap happy the hand app the hander hand the hand the hand. The hand the hand the hand, the hand, the hand, the hand, the hand, the hand, the hand. The hand the hand. Oh. Sometimes it's tough to listen to. Check it in. But you catch my drift, hopefully? Happy a hand. Maybe a May a MapyHapy a hand. Map a hand. Right, this hop songs up with HH. Let's bring it down cento with the ***** cove. Have. Happier to have. G. So, let's listen to that. Happier to have, happier to have. Happier to have. Happy. Yo stranger I have a song in on this yeah, listen to it. Have, have, Straight I have, right? Even if you come out here, they have, they have. They have, they have. They have. Alright, that's true, Better sound than have. Happier, they have. Happier, they have. Let's go up a bit. See if they get something better. Happier to have happier happier to have happier to have. Happier aHGlad happier a hem happier a he happier a he Happier a hem Happier happier happier happier a he happier a hem. Glad. Glad? I said, it's G shop. Let's check again. E meet you. So F shop, D's an F shop. Glass. Glass. Glass. Glass, glass, glass. Okay between. Well, that's F shop. Glad. Glad. F shop. And this will be G shop, F shop. Between G so let's put it up. Glad. Glad. Glad. Glad. Glad. Glad. Glad. Glad. Glad. Glad. All right, that's bad. Okay. Okay. Glad Glad. Glad. Too much ticks. Glad. Glad. Glad. Glade. Glad. Glad. So you can see how you can pay attention to your key and get it in Key. So, for example, the glad you know, we had a note here that was on G. So you have F sharp. It's Amy. So the notes, the foreign line will be with F sharp, G sharp, et cetera, right? So we had a note here, shifted it here and sound better. If you bring it back. Glad Glade. On do? Glad. Glad. Alright, so let's play the pitch a bit. Glace glad. Glad. Glad. Glad. Glad. Glad. Glad. Glad. Glad. Glad. Glad. Glad. Glad. Glad, glad, glad. Glad I have. Happier glad. Happier Glad. Bring it on, but Happy in the head. Glad. Happy in the head. Glad. Happy in the hell. Glad I see. Oh happy in the head. Glad. Oh, that's bringing me my bits. Happy in the head. Glad. This is unnecessary. Happy in the Glad. Glass, glass, glass, glass. Glass, glass, glass, glass, glass, glass. It's make a pop up and see. Glass, glass. Glass. See. Glass, glass, glass. Glass. Glass? No. Glass, glass. Glass, glass. Glass, glass, glass, glass glass, glass. Glass, glass. Glass, glass, glass. Glass. Glass, glass. Glass. Glass, glass glass. Glass. Glass, glass. Let's go up it and see. Glass, glass, glass, glass. Glass. Glass. Glass. Glass. I know it's not that, see, you have to adjust your parameters to suit. Glass. Glass. Who drop it down. Glass. Glass. Glass. Glass. Glass. Glass. Glass, glass. Glass, glass. Glass. Yep. Glass. Glass. Glass. Glas Gs. Glas Glas Glas Glas Glas Glas Glas Glahes. Alright. That's cool. Glas. Right. Glad there I see Glad there I see you, home with me. There I say you, home with me. He be. Let's go right here. Back to Smart. Theeta say you O with me. Find the notes. Yeah, There are my notes. Let I say you O with me. Here, B. What here, B. Here, B. Alright, let's check this. This is B. This is C, before B of E shop. Alright. Okay. B, A sharp. A. Let's go down and test it out to the E. B, B, B. A sharp? B, B. Let's check the B. If you could pay attention, you'll see next to pitch below the gloved hand. Below position, there's pitch, you'll see B, too. It's telling you, that's B, okay? B, What? Okay so that sound better. Here, B, Wah hear Bah Hear Bh. Hear B. Oh, here, B. Oh, here, B. Oh. Hear, a B. Oh, hear, B. Oh. Hear Bh. Hear, B. Oh. Hear, B. Oh, here, B. Oh, hear, B. Mm. Here, B. Mm. Here, Mom. Here, B. Mm. Here, B. One, two. My vibrato is set generally at 100%, have the vocal, okay. Let's go down a bit. Mm. Here, Bem. Here, B. Mm. Here, B. Here, B. Mm. Here, B. Mm. Here, B. Mm. Here, B. Mm. Here, B. Mm. Here, B. Oh, here I'll be. Okay, moving on. Let's go on, listen. Well, my eyes on you and I always want to be with you. L be with you. That new song stranger. Okay. Let's go. You. Okay, so the. Okay. Okay, right. So let's pay attention. So So in K, let's check. This is C, C sharp. All right, C, C sharp. Note right now it's in D. There's no D sharp in my scale. However, let's try. So let's go again. This Linus C, C sharp. You know, it's in D. Go back across. Pay attention. D sharp, right? You be with you be with you be with you be with you be with you But strange enough, it's in out of the key according to theory, but in terms of hearing, it's in key better than if you were to put it, let's say in key, where you would find an E, put it in E. You Or if you bring it back down, put it in D. So you understand. Sometime you have to really play around with it. So don't worry if in the start of the tuning you didn't see me go according to strict key in terms of the E major key and relative minor F sharp. Sometimes you just got to play around with it and listen because here clearly shows that, look, it's in it sounds better. D sharp and D sharp is not even in the skill we're dealing with. So just pointing out, you have a levy. You have a lav You have a lap, do, let Let me, do, let it be Let it be, let it be. So let's do this part here. Let it peep, late peep, let it be. Okay, so let's select stuff. That all the perfect pitch? Lady poem, lady Boom. Lady pee memo Lady Boom before. Ledi be M Late be men. Lady pee pee Beem, pee Beem. Let's go up a bit and see something. Be be meant. Let me be mean Let me be meant let me be mean and and do and do and and and who and who. Who and and who and who and Let me be meant. Let me be meant. Let me be meant. Let me let me be meant. Okay, there. B man. You only like the ocean. Baby Rm B D me be. You only like ocean, baby. Come in me Okay. Let's move on. Move on. So Love me like you live someone else. Love Me like you live Soele. Let's do this. E Chuck pitch, flex pitch. Let's go. It's loading. Let's look for those notes, scroll down or up according to your notes, sir. You navigate accordingly, right? Love me. Like you love me. Like you name love me, like you name love me, like you name. Let's attempt to put them in place. Love me. Like you love me, like you love me, like you name, love me. Like Let's send to the sabbath. Love me. Like you love me. Like you love me. Like, love me. Like me. Okay, I did the whole thing. Let's see, Okay. Me, like me, like you. One, two. Love me? Like, love me. Like love me. Like, Love me, like you. One, two, go up a bit. Love me, like you love me, like you. Love me, like you. Love me. Like, love me. Like love me. Love me. Like love me. Like. Okay. Let's set them up a bit. This would be F sha. Love me, like, love me. Like you love me. This isn't key. Love me, like, love me. Like love me? Like love me. Live Love me like you love me, like you love me. Like love me like you love me, like you never love someone. Love me, like you, Nevi. Like you, N L you Never. Like you, New Like you Never like you, Nevel like you, Neves Okay. Let's go. Th two. Like you never love someone else. Like you Nb of some thank you thank you Nb of SumonT you, neve of some thank you, neve some like you nevi of some like you nevi of some thank you, N thank you thank you Nb of SoumTk you neve of some thank you neve of some thank you Nb of some of some full some of SmonFu some I love Simon. I love Simon S. I love Simon. I love Some s. I love Some ss. I love Simon. I love Some. I love someone else. I love Some ss. I love Some ss. I love Simon. I love someone else. I love Some s. Okay. Let's go. Love me like you never love someone else. Buff me like you live on someone else. Buff me like Buff me like you live on me, like Bob me like you, pump me. Bum me like you. Bum me like you pump me like you, pump me like you. Bum me like you. Bum me like you, pump me like lip pump me. So let's go down a bit. G two. Me like you lip pop me like you. G so Me like you, pump me like pump me, like. Let's get the gin up to heat a bit. Oh. Oh. Me, like Me, like you, No Me like you, neve Me like you, never. Love Me, like you, never. Me, like you never I love something. Me, like you, like Q, N. Q, never loves Q, never. Q, never loves Q, never loves so. Q, never loves so. Q never loves I love some love song, love song. Never loves Never love some. Uh, Mike. Never, love Soma. This is an F two. Let's go. Never love S. N n. Let's just test. Never, love some. Never love Soma. Never love S. Never love S. Never love Sama, never. Check it out. Shupgre. Never love Summer. You never love Sum. You never love Sumer. You never love someone else. You never love someone else. Some else. Some else, Sma else, Simon, someone else. Okay. Let's go there. Some else. Like you never love someone else? I look at you. And I see myself. Love me like you I look at you. Double click at a perfect pitch. I look it you. No, not because it's at the perfect pitch. Doesn't mean it's the perfect pitch. And your perfect kids supposed to be you after soils. I look at you. I look at you. I look at you. I look at you. Let's go here. I look at you. I look at you. I look at you. So I look at you. I look at you. I look at you. I look at you. I look at you. Let's go up and see. I look at you. Look at you. He what F shop. A k cheer. Let's chop a bit. A kid cheer. A kid cheer. Mm. A kid cheer. The songs like it can be adjust cheer, a kid cheer, a kid cheer, a kid cheer, a kid cheer. So let's go with this. A ki Aki chew. A ki chew. Aki chew. Yeah. I like it che. I like it. I like it. I like it you. I like it. I like it. I like it. I like it. I like it you. I look at you. I look at you. I look at you. I look at you. I look at you. I look at you. I look at you. Okay, great. Please. I look at you. And I sing my I look at you. And I sing myself. Ooh. And I sing, and I and I sing and I sing and I sing and I sing and I see my And I see myself. And I seeing myself. And I see and and I see and I see myself. Let's drop that. And I see my and I see myself and I see myself and I see and I see myself and I see myself and I see myself. And I see myself. And I see myself. Alright, that's good. And I see myself and I see myself. Drop it that bit. And I see myself. And I see and I seeing and I see and I and I see my and I and I see and and I see and I and I see myself, and I see myself. And I see myself, and I see myself. Oh Okay. And I sing myself. Oi. And I sing myself. Oith And I sing myself. Oith Oith Oith here, oi, here. Oi Oi, Oith ways. Always. Here, ways, ways. Ways. Choice. Here. She ways. Serve ways. Here. Serve ways. Here. Here. Always. Here. Always. Here. Always. Here. Always, here, always. Here. Okay, let's go. Always. Here. Double click and check. Here. Here. Here. Here, here, here, here, here. Myself. Oh. Here. Love me like you. Love me like you'll never love someone. It really helps when you sing more on key or perfectly on key, because it's less work in the edit stage like here, but it's good for artists who are recording, and you may not be on that professional singing level, so you can see how you can tune a bar recording into something acceptable. Okay? That's cool. Love me like you. Love me. Love me like Love me like you Love me like you. Love me like you. Mm. Let's bring it up in the sense. Love me like you. Love me like you. Love me like you, Nev Love me like love me like you Love me like love me. Love me Love me like you. Love me. That's what I want check. Love me. Love me, Love me, like Love me Love me like you. Love me like you, Neva. Love me like Love me like you. Love me like you. Love me like you. Love me like you. Love me like Love me like Love me like you. Love me like you. Love me like you. Love me like you, like you, like you. Like you, like you. Like you, N M, like you. Me, like me, like Me, like me, like Right. Let's drop a little bit. Experiment. Me like you. Me like you me, like. Love me, like, love me like you, Nick. Love me, like, love me. Love me like you. Love me like you Drop the pitch here. Love me like you, Nick. Love me like you. Love me, like Love me like you, Nick. Love me. So you see, you can adjust the pitch curve when you get getting it more key. Love me, like love me like you. Ove me like you. Love me like you. Love me like you. Love me like you, never. Love me like you, never, Q, never. Q, never, love, you, never, Q, never. Q, never, love. Q, never, love some. Q, never, love. Was what? Shop. Have to Q, never, loves. Let's bring it up a few pictures. Q never loves Q, never. Q never loves Q never loves Q never loves, Q, never. Never love ever ever love for love. I loves never love, never love. Never loves W never loves. We never loves B ever loves Sneva loves Whev loves Boneva loves Boneva loves Buneva loves CN love Soma CN love Salmon. Los man Lo Saman Lo smon Los Man Theo sma Los Manetho summon Theo smane Oh, some sum. Lo some. Let's shop us a bit. Ooh Somel. Oh some. Oh, so. Oh, some. B one. Oh som Oh, some. Oh, so. Lo Smel. Lo small. Lo Small. Oh smelOOsmel. Okay, I go there. And let's check it. I look at you and I see my self You. Love me like you never love somebody else. And that's it for tuning. We are finished. I'll just do some little touches and line it up, and we'll check it back. I congratulate you for staying so long and pushing for your goals, 'cause you can be empowered with this, especially for those who don't have the time to sit for four years or three years and learn this stuff. And you're very busy and you want to get the empowering information concise to get to your goals faster. So that's it for tuning. So 13. 13) Song writing bonus: Songwriting. Beautiful songwriting. Now, this topic is a bonus topic. You don't have to enter this topic, but this is for songwriters, recording artists, music producers, focal coaches, even engineers who may be interested in getting a different view, angle, perspective on the art of songwriting, right? And, this can help. This can be an addition to your skills, and I am very pleased to share some of my views on it. Okay? Now, when you're getting into song, when you're getting into songwriting, you can get it from inspiration. You can have a natural talent. You can have how to say, methods that you go to that cause you to reproduce good songs in terms of lyrics, in terms of melody. You know? So what we're gonna do is go through some songwriting. So on the right hand side, in my notes. Now, I can forgo that for the while bring up this. I have some lyrics here. I have some lyrics I was working on for this song. And I have some lyrics I was working on, and what I want you to do is observe how I'm flowing. Okay. Now, this is for the Vose section. I finish verse one. No time for Vose two. So we can go through Vose one afterwards. Okay? I have some things written down here for your sake to see. Now, when you're doing your songwriting, you can either write your lyrics first and add your melody in after, you can hum a melody, which represents your words, along with the instrumental and then use words and come up with different words to match that melody that you were humming. So let's go through. So we go to Verse, too. Let's get the feel of it. I'm supposed to have a little melody here, let's see it. I'm looking at she dances around in love, man. I'm not the best sing I am learning, so just bear with me. I'm loving love. Hey. Ocean, baby, come in me. Hold on. Let me just check something. You put a Steinberg O put a Zoom. Alright. Love love. Hey. You roll back the ocean, baby. Come to me you roll back the ocean, baby. Rush me, babe, don't crush me, baby. Take my lagging. I'm loving Love Right, so that's how I'm doing this. It says, I'm looking how she dance around in love my feelings of self. Hey, ah, you rolling like the ocean baby coming to me, hey. Mh. Yeah, you rolling like the ocean, baby. Rush me, babe. Don't hush me, baby. Take my love it, love you, love. Take my love, love it, love, huggihug in up. Love you, love it, love, Huggy hug in. Right? I'm sure it was song much better on record when I tune it up and so I fix it up, you know? Let's go with it now. I'm looking now you down in love. My feelings are so E. Yeah, you're rolling like a ocean baby coming to me me here, you're rolling like the ocean, baby. Rush. Don't hush me, baby. Take my loving lap, love it, haga. Love it, love, love, hugging, aging. So with that type of context, let's proceed. Now, what we can do is hum the lyrics on the left in your audio track, and then on the right, type what you can replace the hum wood in terms of woods. So you match the humming melody and the woods on the right. You understand? Okay. So let's go. First two. Right. Happy to have you, glad that I see you. Yeah. Happy to have you, glad that I see you here with me. Oh, E C. Oh, happy to have you. Glad I see you. He with me, Aunt happy to have you. Glad I see you. A with me. Oh, here, I see. I see. Let's do a little cord here. Was that one there? Let's go. Um, happy to have you. Alright, so let's get that saved. So why you would want to record it is to sieve it. Happy to have you play there Co here with Leo, here a CEO. Here you roll on Rush me, baby. Hey. Right. Alright, so happy to have you. Glad that as CEO here with me here as CEO. Right? Happier to have you. Glad that I see you here with me. Here I see. My eyes are on you and I always want to watch you Wat you. Eyes are you. And I always want to. Wanna Wat you. What you. Let me feel. Right. Right. Let's see it. My eyes on you, and I always want to watch. My eyes are on you, and I always want to watch you. Girl, let me feed you. Ooh. Yeah, I see. My eyes on you and I always want to watch. Ooh, let me feed. So, happy to have you, glad that I see. Right, happy to have you, glad that I see your hair with me, your hair, I see. My eyes on you, and I always want to watch. Ooh let me feed. Do let me be man. See? See how comes along. Alright, so let's do a recording here. I be heavy. Glad that I see your hair with me ere I see your eyes on you. And I always want to watch your girl ammo feel you. Do Lemme be man. Rod like the ocean baby coming to me. Hey baby. Yeah, you olla like the ocean baby. Like the ocean, baby. Right. Okay. So let's go to the bridge and see what we can do. So that's for that. So rolling like the Ocean, baby. Let's let's do that again. I bet have you. Glad that I see hair with me. Oh, here, I see. Alright, so I bet to have you glad that I see your hair with me. Oh, here, I see. Oh you always want to watch pelo let me be manny ocean baby rush you baby. Be it ocean Bush beat it. Be it. So the time. Alright? Let's see what's going on with the bridge. Baby. Love me like you I love someone else. Love me like you if I love someone So let's go. Love me like you someone else. Love me like you someone else I'll look at you with you. Look me like. Okay. That's it bridge? I like Okay. Lo Just a reminder, you click this zoom in on the waveform. So look at the bottom here by the bridge area. I click it off. Hardly see it. You click it. Zoom It's not that the volume increase. It's just that the waveform has zoomed in for you to see where the sound information is, okay? In the digital domain. Okay. Let's listen back. Love me like you never love someone else. And I look at you and *** myself with you. Love me like you love. Okay? Love me like you never love someone else. Love me like you never love someone else. I look at you and as self with you. Hello. Okay. So I hope you really got where I'm going with this. So let's go to the left, and let's play a chorus, okay? To ensure that we complete this songwriting here. Nice. Nice. Alright. Something for the bridge. Let's do one more here. Alright. Let's bring it up just for ease convenience. Okay. We navigation also. Alright. So let's listen and see what we could come up with for the course, right? Nice. So let's go. So let's listen to it. Okay. All right. So what words can we do? Let's do the melody. Let's hum something, okay? So let's go. Yeah. Looking at at you. Because I love you. Baby, baby, I do. That's it. Don't want to stop. Let's go. I don't want to stop. Looking at you. 'cause I love you. I do. I do. I do I don't want to stop looking at you. Boom. I don't want to stop baby looking at you right. I do. I I do I don't want to stop girl looking at you. Because I love you. I do. I do. Let's stop. I don't want to stop looking at you 'cause I love you. I do. I do. Oh. Oh. I don't want to stop. You having a girl. So let's go back and sing again. I don't want to stop looking at you. 'Cause I love you. I do. I do. I do. I do, baby. Let's serious. Let's see how we get you. I don't want to stop, girl looking at you. So it could be like that. I don't want to stop, girl looking at you? 'Cause I love you, do, do. Oh. So let's do I want to step, I I want to stop, girl looking at you, 'cause I love you, do, do, I do, I do. I do Alright, let's go. So we just had one with speci melodies let's go At stop looking at? No. Ata stop looking at you. B I love you to do do do. And that's it. I don't want to stop. I don't want to stop, girl looking at you and I want to step I want to step, and I want to step, girl looking at you, 'cause I love you, too, do I do, do, do. And that's it. I do, do I do do do. Yeah, that's it. Okay. So let's here's the cross, and that's it for this session. Let's go. I praise the Lord. I don't want to stop, girl looking. One more time. I don't want to stop. Girl looking at you. 'cause I love you. I do do I do do do Good. The al Do Do I do do And that's basically how you write a song. I showed you right in the lyrics, following it, I showed you. I believe I just went one melody for the chorus with the wood, and then I switched it. You don't always have to go with the first melody that you get. If you pay attention, by the way, these, right? Look at the non percussive stuff, meaning the instruments that are not drums, not Sne and soon. They have been chance poos. By two semitones. You can simply do by option up to go to three or down to go back to two. And the reason why I sent it up to semitones is to be more in my range, 'cause if you sing, it could be like, bring it on to normal. It'll be like this. I don't want to stop. But you might get the live the lively song with flavor, so you send it up to one, two, I don't want to stop looking at you 'cause I love you. I do. So you get what I'm coming from. So make sure to transpose and put it in your comfortable range or your tessa tura, right? You're comfortable singing space, right? So that's it on the song writing. I hope you learned something from it, got a perspective. I really care about you. I want you to learn as much as I want all to enroll and be a part of my career. So I can be successful. I also want you to be successful. So thank you, and I'll see you in the next one, hopefully, alright? Beautiful. 14. 14) Gainstage 1 : Yes, so welcome to recording to the mixing segment of this course. So without further ado, let's proceed. So let's check the parameter before we proceed further. And if we pay attention, we can see buffer size and samples, right? So between buffer size and samples, okay, you want this in Logic Pro x to be 1024. I recommend 1024 in the buffer size setting because if you go way lower than that, or much lower than that, it can cause you to get pops and clicks and interfere with the flow of your mix. Okay? So that's that. All right. Another thing. Gains teaching is this part of the mixing segment. When I say gainstging, I mean basically adjusting the signal levels or instrument levels that you have in your mix to a level that they are not too soft, that if you turn the volume all the way up, they are still weak and you can hardly hear it properly and that they are not too loud, that if you turn the volume all the way down, it's still too loud. You want a signal that is reasonably free from distortion. So that it does not clip and that it does not interfere with the good sound and flow of your mix as well. Okay, so let's pay attention to this we form. For example, I'm going to raise it up by using the gain parameter on the left here by the arrow. So when I go up, you'll see the wave form on this side, or wave forms increase in size and decrease accordingly. So here we go up, down. Okay? And just an example of how it looks when it's distorted, I click here and I go straight up, so you see the curve here. There's a notch and a notch and a notch. Pay attention to this waveform. Let it go up. You notice you can't see the notch, the notch, at least about two notches, because it has been squared off, it's been squashed, and as a result, this is a distorted signal here, okay? Alright. So Let's just play it for a bit. Let's trp this a bit so that it's not too loud in your ears. Warning, it can be very loud, so I suggest you turn your volume down on your end. So let's play this part here. Hold on. Let me go on an easier instrument for you that you can hear it better. This is the car on chorus. So let's go here. So right here, let's squash that signal and listen to it now down to about minus four. Its songs unpleasant, squashed. Down. Okay, back to the original level, 0.0. Okay. That's that, we'll go back up to the kick and put it back at Unit to gain and start smile six. Option click back up to 0.0, unit to gain, where we either increase or attenuate the signal. So that's that for the while on this. 15. 15) Gainstage 2: Yeah, so let's proceed. So the next setting is to apply the gain plug in. So on the stereo out, you can go here at Audio ex down to utility across gain stereo. What this does is put your mix in stereo and mono. Okay? So the good thing about listening in Mono is that when your files or let's say more precisely your instruments that are, for example, in stereo collapsed in Mono. Let's say if they were recorded, at least, right? You can have an improper recording with minor freezing issues. When you collapse it in Mono, and listen to the mix, you can hear some of your signals getting weaker so that can show that the instruments need to be re recorded to have a proper result. And if they are in fees, you know, it's done with respect to the signals being recorded at proper distances and placement, then they'll be stronger. Once they in phase and the combine upon one another, they at least will be solid, if not stronger. Okay? Yes. And that for the while. All right. So going forward, let's hear the mono and stereo, okay? And also, we're going to listen to the mix and mono and stereo for a few seconds and a few instruments just to get an idea of how it sounds. I don't stoping, then I dance I love. My feelings are soft. Hey, you roll like the ocean, baby. After after Yeah, so we are proceeding with the gain staging now. Uh, the last setting I had with this gain plugin is the mono was on to leave that on and proceed. Okay? So let's continue. Yeah, so another thing to note before you start to gainsge, drop your feeders down to about, let's say, for the direction I'm going, Tong to at least minus seven. You can do minus six or minus eight, whichever one fits you for your direction in your mix. And the reason you would want to drop it to minus seven or a lower number than unity gain, which is 0.0 is because if it is at this stage where the feeders are much lower, you are getting the mixed song at a comfortable level. Then as a result, when you push the feeder up, you can have much louder mixes. Let's say at this minus seven, if you gain stage and raise your gain on this side here up to a level where it's song and close to this level when it was 0.0, then when it is you raise these feeders even more, that can give you louder mixes. But remember, even though you're doing louder mixes, you have to balance the level that is reasonably free from distortion, okay? So just a point to note, so minus seven. Yes. Keen Staging. So I'm going to solo each track, listen to them. Once they come through at a comfortable level on my headphones here, I'm going to use that level. And after all, I want to play all of the instruments together, at least at the chorus and the verse and the bergeria to get things done properly and ensure that they are song and blended enough, blended enough. So I'm going to proceed. Alright. You will see me operate this gain parameter here, up or down, okay? In order to adjust my gain. So that's it. Let's proceed to the gain staging. I don't stop looking at you. Oh Do 16. 16) Gainstage 3: We are progressing so far in the Gey and staging. As you can see, I would have adjusted some trucks accordingly. Yes. And I just want to make a statement that when you are adjusting a bass truck in terms of its sound level, try not to have it too loud in your ears because you enjoy it sounds in the headphones because if you have it too loud, there's a likelihood when it's played on a car system or any other system with speakers, it can overpower the other instruments, yes? So just bear that in mind. Three. Love me like you nevil of someone else. Love me like you, nel of someone else. Love me like you, nevil of someone else. Love me like you, Nb, Soma girls. Love me like you Love me like you Nb Soma gels. Love me like you Nv love someone else. I look at you. Dove and I should dance around I love. My feelings are soft. Hey. Yeah, you rolling like the ocean. Be back coming to me. Coming to me. Yeah, you're rolling like the ocean, babe. I love. My feelings are soft. Hey. Yeah, you're rolling like the ocean. B B, coming to me. Coming to me. Yeah, you're rolling like the ocean. B, rush me, babe. Don't push me, baby. Yeah, you're rolling like the ocean, baby. Coming to me. Mm. I love. Stop girl looking at you. Goes I love, you are two. A two A two, oh stop girl looking at you. Goes love, you are two, two. 17. 17) Gainstage 4: Y, so pay attention. We're progressing great so far. So if you look at the waveform here, it's smaller than that on the right. A situation like this, what you can do is you can come and engage your scissors to and cut here. And that way you could just adjust this part alone in the gain staging and leave the rest, you know, okay? Yes. And when you gain staging, if there's a signal here, like you're seeing this sound here, you can play this against the other track to ensure that they are matching up reasonably in level according to your direction. All right. So we are almost finished with the gain staging. So let's just finish up here. Happier to have glad that I see you hold with me here. Happier to have glad that I see you hold with me. Here I be my eyes on you, and I always want to be with you. Love me. Do let me be men. Yeah, you only the ocean. Happier to have glad that I see you, O with me. Here I happier to have. Glad that I see you, O with me. Here I be. My eyes on you, and I always want to be with you. Let me. Do let me be man. Y, you're rolling the ocean, baby, rush me, babe. Don't rush me baby. You're rolling like the ocean, baby, coming to me. I don't stop looking at you. Do you are two. A two A two, I don't stop looking at you. To, you are two. A two A two I do. I think I should dance around in love. 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Let me being. Yeah, you rolling like the ocean. Happier. Glad that I sing with you Happier. Happier. Glad that I sing with you, who with me. Here I be. My eyes on you and I always want to be with you. Let me do. Let me being. Yeah, you're rolling like ocean. Baby, sm Dome B. Yeah, you're rolling like ocean, baby. Happy. Glad I see you with me. He ocean, baby, hm. No us me Bb. You only like ocean, baby. Come in. Yeah, so that was gainstiging. I hope you enjoyed that and understood what was displit. And now let's go on to the balancing part of mixing. Thank you. M. 18. 18) Balancing 1: Okay. Mixing. So when you're balancing your instruments in the mix, you're ensuring that they sound good together. So one does not sound too much louder than the other one unless that's for a desired effect, that is appropriate. And, for example, you want your kick to be balanced, good against your snare, against space block. Well, your instrument here and so on. And when it is you are doing this you can solo your trucks and listen to them one by one, or you can play them all together. So my method of mixing, I solo my trucks correction at solo M tracks. So my method of mixing, I play everything together. I will raise what needs to be raised. I will drop and level what needs to be dropped, and then I'll solo each track and bring them in and then play them together accordingly to what I desire. Yes. So let's proceed on this art. And before I continue, I just want to say, remember when it is that you are mixing, you want to have enough headroom, right? Check out your stereo, you want to have enough headroom. You don't want that going into the red and clipping and you los and you're losing your headroom, because then when you want to add your plug ins to do your additional processing, you may be faced with little room, and then you can't process and still be free of this doser, okay? All right. Yes, so this is the mix session here. And according to my commands on my keyboard, I'll press X to get my mix window. As you look, you will see divided channels. Okay? So pay attention to way selected. So when I click, you'd see that the color would get brighter or different shade, that means I selected the channel with the mouse cursor Sach. See? Different shade, different sheet. So every part that I'm clicking here is a channel. Alright? On the channel, this is a feeder. So with this feeder that is under the mouse arrow, I go up and down. See, it's moving the value that the your level will be at, okay? It's moving the value that this level that is on the channel will be at. Up down, that's a feeder movement there. And these altogether are feeders that will be adjusted, right for the mix. All right. Yes, and pay attention to your stereo out where your mix is going to pass too. Yes. And on your master, you have your master channel here, and then you have D, your dim switch to literally dim the sound, like reduce it in terms of the overall level, to hear it at a softer level. Okay, that's that. And then you have your buttons to switch to the type of automation. So it's on read. Then you have touch, you have at, you have write. My favorite is latch so far. So leave it read. Yes. On each channel, you also have your solo and mute button. You have your input monitoring, input monitoring, and your record button. Yes. So there's some basic things to go along, right? So I'm going to play the track and then listen. And also, I'm going to move my feeders accordingly when I'm ready. So pay attention. Let's just drop this the minus seven. My 7.0. My 7.0. Let's make sure all going straight across, S cross. Let's check something here. All right. Okay. **** across. Okay. Just an insight, what occurred earlier on, why my feeders were higher before was because there was some automation that I was supposed to remove. So now that I removed it, the feeders are backed and set the feeders, they are backed down at minus seven, so the automation wouldn't be bothering us anymore. Yes. Let's proceed to the balancing. 19. 19) Balancing 2: I stop looking you button I stop looking at you. It then I think we love when feelings are soft. Hey. You wrote it like the ocean, baby. Coming to me. Coming to me. You it like the ocean, baby. A sweet baby Okay, baby coming I don't stop barking 'cause I love you. Happier than. Glad that I see you with me. Here I be. My eyes on you, and I always want to be with you. Let do. Let me being. Yeah, you only like the ocean. B shm B D ashme B I gave on the ocean, baby. Coming meet me. Love me like you never love someone else. Love me like you never I love someone else. I look at you and I see myself you. Love me like you never I love someone else. I don't step you stop you. Stop. I I stop, I stop oh I don't stop looking at you. Do you 22 oh stop looking at you. Do, 22 oh I don't stop looking at you To you to a two I do. Then I should dance around. I love. My feelings are soft. Hey, you rolling like the ocean. B, coming to me. Coming to me. You rolling like the ocean. Babe rush me B. Don't hush me B. Rolling like Oceoo baby coming to me. I love. My feelings are soft. Hello. You rolling like the ocean. Baby, coming to me. Coming to me. Yeah, you're rolling like the ocean. Baby, Rushme Do hushme baby. Yeah, you're rolling like the ocean, baby, coming to me. I love. My feelings are soft. Hello. But can't you roll in like the ocean Baby rolling like the ocean Hey, can't you like the ocean. Baby coming to me. Coming to me. Yeah, you're rolling like the ocean. Baby, rush me, babe. Don't smeve B, you're rolling like the ocean, baby. Coming to me. Of Hey. Yeah, you rolling like the ocean, babe, B coming to me. Coming to me. Yeah, you're rolling like the ocean, baby, rush me, babe. Don't smeve B you only oh baby come in to meet you. I don't stop there looking at you. Goes I love, you at Auto at. At do Oh. I don't stop there looking at you. Goes you at auto at oh at, do, do oh. Yes so we would have seen some mixing going on, theta movements being carried out, and so on. And I'm gonna continue until I'm satisfied with this mix. Okay? Just remember when we were mixing to listen carefully to the material and make your adjustments accordingly. Let's proceed. I don't stop looking at you. Is at Oh. Auto Oh. I don't stop looking at you. Because I love you Auto Autum automo AutomHappy glad that I see you with me. Here I be my eyes on you and I always want to be with you. Let me do. Let me being. You only osha. Baby Ram. No ame baby. Give you only ocean, baby. Come and Love me like you I love someone else. Love me like you live. I love someone else. I look at you and I see myself. Love me like you never love someone else. I don't stop there looking at you. Does I love you too. I do oh I two, two, two, oh. I don't stop there looking at you De I love you too. I too I do oh I two, two, two oh. I don't stop ding at you. Goes I love you too. A two A two oh two, two, two, oh. I don't stop doing at you. Go, you to a two oh two, two, two oh. I To oh two, too, boo oh. I don't stop there looking at you. Goes I love you, two, 22 oh two, two, oh. I don't stop there looking at you. Toes love, to 22 oh two, two, oh. I don't stop looking at you. Those are you are too too, A two, two oh. I don't stop d looking at you. Those I love you to a two A two, two, oh. I don't stop there looking at you. Those I love, to a too AT two, two oh I think I should dance around I love but I love my feelings are soft. Hey, you rolling like the ocean. Baby, coming to me. Coming to me. Yeah, you're rolling like the ocean. Baby, rush me babe Don't hush me, baby. You're rolling like ocean, baby. Coming to me. Ive and I should dance. Happy glad that I see. Be like on else. Love me like you never love someone else. Love me like you never love someone else. I look at you and I see myself with you. Love me like you never love someone else. I don't stop there looking at M 20. 20) Balancing 3 : I have finished mixing. Now what I'm going to do is to drop all of the feeders. And the reason why I will drop all is because if you only drop one feeder, then another instrument or instruments are likely to overpower it in volume. That's why you drop all of the feeders together so that they would not be overpowering each other. They will be at the same power against each other. But all together at a lower level. And I'm dropping all so that I'll have more headroom at the stereo out. Okay? And also, I'll have more headroom at the individual strips so I can apply for the processing, and it wouldn't cause my levels to go into the red and distort and so on and these types of things. So to get more headroom is why I'm dropping all of the feeders, and I'm dropping all as opposed to just one or a few so that one would not overpower the other. Thank you. I don't stop there looking at you. The I love, too, too I do oh I do, too, boo oh. I don't stop there looking at you. To I love, too, too, I do oh I do, too, boo oh. I then I dance around I love. My feelings are soft. Hey. Yeah you rolling like the ocean. B, coming to me. Coming to me. Yeah, you're rolling like the ocean. Baby Rushme Don't Rushme B. Yeah, you rolling like the ocean, baby. Coming to me. Yes. So a quick tip to select all of the tracks. Well, according to my commands on my keyboard, what I do, I'll select the one on the top, or you could start from the bottom, whichever one fits you. But the one on the top, you can select that with the mouse and then shift click the last track that you want to select that includes all the other tracks you want to select as well. So the top Shift click, and all the tracks are selected. Now, what's going to happen here. I'm going to well, I just dropped all the fatal levels to get more headroom, and now I'm going to play the entire track and listen to it, mono between stereo, and after that, we'll move on to automation and planning. Okay? So I'm gonna play the track now. I don't stop there looking at you. To I love, too, too I do oh I do too oh I don't stop there looking at you. To I love, too, too I do oh I do too oh. I then I should dance around. I love. My feelings are soft. Hey. Yeah, you rolling like the ocean. Baby, coming to me. Coming to me. Yeah, you're rolling like the ocean. Baby, rush me, babe. Don't rush me, baby. You're rolling like the ocean, baby. Coming to me. I don't stop looking at you. Because I love you. I do I do I do, auto too I don't stop looking at you. 'cause I love you, Atom Autumn autumn Automo Happy glad that I see you with me. Here I be My y's on you and I always want to be with you Let to. Let me being you only osha. Baby as me dome baby only ocean baby. Come in. Love me like you never love someone else. Love me like you never love someone else. I look at you and I see myself you. Love me like you never love someone else. I don't stop there looking at you. Do I love you, too. A two A two, oh. A two, two, two, oh. I don't stop there looking at you. Because I love you, too, I two A two, oh. A two, two, two oh. Yes, so the mix has been balanced, and I am very satisfied with what I did. It was switched between mono and stereo to get the different mixed views. And I'm finished with the balancing part now on to the automation and panning. 21. 21) Automation Class 1: That was the panning now on to equalization. So let's get an equalizer. So to your channel strip on the left, you can click here by Audio FX and channel EQ. That's the one I'll be teaching. Stereo. So this is what the channel EQ in Logic PX looks like. So let me just explain an equalizer is a signal processing tool that is a combination of filters, okay? And if you pay attention to the top, right, going straight to the left, you'll see different types of filters. Okay? So here we see the lows or cut. If it is you were to apply it to a signal, that's the high pass filter or the low cut switch. Okay. Here, you have your low shell filter. All right. Then you have your band pass filters. Then you have your high shell filter, and then you have your low pass filter, which is the high cut switch because it cuts the highs. Highs meaning high frequencies, lows here meaning the low frequencies in the signal. So let's pay attention. So the low pass, sorry, the high pass filter is this. So the loser cut allows the higher frequencies to pass. All right. Option, click. This is your low shell filter. Pay attention. So I'll engage the adjustment point on the curve by clicking the filter. You click it. All right. Pay attention here, here, here. So basically, the low shelf filter is on the low end of the frequency spectrum. And when you post a particular frequency, it posts other frequencies leaning towards the lower end as we see here, okay? This is your pan pass filter. It allows a band of frequencies or a range to pass. So for example, here, you can see from about 59 hoots to 260 hoods about there that estimated range or frequencies to pass, can be boost or cut. Okay? Band pass on the high shelf, as opposed to the low shelf. This is one that you can boost frequencies on the higher end when you boost one particular frequency. So on the higher end of the frequency spectrum, as I have here. So let's see boost it from here, 58 50 hoots, right? And you boost that particular frequency, it boosts other frequencies on the higher end. Okay. All right. So yes, and low cut. High cut. High frequencies passing. Sorry, low frequency is passing. High frequent is passing. Okay? All right. Low pass cutting the high frequencies and allowing the low frequencies to pass. Low cut, which is the high pass, cutting the low frequencies and allowing the high frequencies or higher frequencies to pass. Just to go over this, the low cut switch is the high pass filter. Cuts the lower frequencies and allows the higher frequencies to pass. The high cut switch is the low pass filter, which cuts the higher frequencies and allows the lower frequencies to pass, okay? All right. So let's also pay attention to below, you'll see the frequency that the adjustment points correspond to. So this red nub here corresponds to 20 hoots it's placed that or positioned. This adjustment point here, 75 hoods, it's positioned that. Okay. And the same thing applies when you highlight the point and then look at the corresponding numbers to it. On the left, the lower end here. 20 hoots, all right. And 24 dB per octave. This deals with your filter slope. It goes down to six dB per octave. That's the most gentle. All right. And you can go 12 dB, 18, up to 48 DBs per octave. Let's bring it across to your seat better. It's more aggressive filter. All right. The more aggressive, you filter by going higher in the DB per octiveo? Is the less of the frequencies. The lower end that can be perceived along with what is not filtered. All right. And the lower you go, is the more they can be perceived, combined with what is not filtered. Alright? So that's why for base frequencies, you may want to go like 12 DB per octave in certain cases so that you filter some of the muddy, distorted part out if it's sung and distorted and muddy, but still maintaining some of the meat in the base. So This can be adjusted to adjust the curve, as you see moving right now. Yes? To get a boost there while this is cut here. All right. And moving on. Boost boost there while this is cut. Okay. So the other part let's do a band. Let's go, more in the middle. Yeah. So this at 7:50 hoots, and then you can raise the amount. I'll boost or dip to minus eat something even more. I'll cut. It'll notch. Alright. And then if you raise this, it reduces the band. So let's say you raise you go up, it narrows the band. To be more surgical and precise and more focused in your boosting and also your cutting or notching. Let's go up, right. Up to 100. And you can widen your ban. Okay? All right. And so here, 24, we cover the DB Pctave on the lower end early on, up, down, up, down. And let's go up a bit. And then the boost. Okay? All right. Also, when the equalizer is playing, you can see, sorry, when the instrument is playing and showing the information on the equalizer, it's good to have your analyzer on. So it's off now when you click yeah, it's on. Right. So yes. If you pay attention, you can see from this position the performance information for this instrument, for the kick Chorus kick is performing from estimated 20 hoods and you can raise it up by clicking here and dragging up straight up to about 13,000 hoots, Allright? So it's good to pay attention to your information there. All right. Paying attention to the gain on the right. If we boost or drop it, it will also adjust by boosting or dropping the points along the curve. So pay attention. So you see, all these points would have been boosted. You drop, that'd have been dropped, okay? Bring it back there. All right. Option, click this, drop it back. Okay, so it hasn't been raised. But if you raise it and you go up, it's quite here. Option click. Left click with the mouse, brings it back down. Can bring it down as well. You can do this for high hearts and stuff that you don't think has much pace so you can see how much pace or low frequency, low frequencies are actually performing in an instrument to filter your instruments more smoothly and more polished. So that's it on the equalizer in terms of explaining this basic information here. So, what I'll do is go ahead and start to apply it for you to hear what the equalization does. Okay? All right. Yes, so let's go and view the mixing of cake and Bs. I'll start with that, okay? So just a little inside. If you want to get this back to the flat curve before in this equalizer, hit that triangle that arrow there, and hit recall default. Sets it back. All right? Okay. 22. 22) Class 2: I don't stop, d. I don't during it. You Don't stop during it. You won't stop during it. You To, you. Don't stop, during it. You Don't stop, d looking it. You don't stop there looking at, you looking at, you T A two. Don't Stop, d Don't stop, during it. 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You can see the curve on the left and then copied and paste that setting to the snare was curvy as well. All right. So that's that one thing I want to show you as well when it is you I want to place an equalizer for a number of instruments, let's see, these two instruments, dark space plug and carbon chorus, instead of having to put an equalizer or plugin on each channel, you can send them to a channel called an auxiliary channel. So for example, let's say, I'll try right here. By this plank tab with these two arrows, you click and click Bus and go to the available bus. So let's click Bus five. And what that will do is when you increase signal here, you're seeing the green display coming up there more and more. It's sending signal to the x five, right? So that we can just put a plugin on that channel and affect the 21 time as opposed to having to put two plugins. That's one thing, but bear in mind that when you send signal the auxiliary channel, it is going to get louder. So, for example, if it is you send one of those channels to the max. Like, do this with this Navia straight to the max, 6.0, then it's gonna be louder and your head room will decrease. Okay? And the overall mix. Alright, so bear that in mind. Let's proceed. In addition to that, let's undo that. Let's undo, undo, undo and you undo Hold on, do change. Okay. Undo change then, two come off there plus the x five? Alright. And remember when equalizing, think about the message you want to bring across. Let's say, for example, you want to bring across an idea that brings a soft atmosphere. Let's say you're on the vocal and depending on how it's performing to make it softer and equalization, you may want to say, Alright, I want to make this I want to make this vocal softer so I will decrease some of the crispiness at the higher end. In terms of high frequencies, I'll filter them out and drop some of the harsher frequencies if present in the mid range somewhere there to bring across that soft environment message, and you continue like that, this is a method that you could use, not that you have to, but you could use. So that's just a point to note. So continuing with the equalization process. 24. 24) Panning: No, until the panning as the automation is finished, I'm satisfied with my fatter movements, right? So panning, basically, panning is using the pan knob here, which I can push right. You said you see in plus 23 -23. Even my Swift, right? It goes from the center straight to plus 63, negative 64. Left and right. Okay? We can move. And panning places your instruments or your songs in different parts of the sound stage. Okay? So we are going to do some panning and pay attention. What's good for that, too, is that you can have a vocal incena, right? And you can also put a guitar to the right and a piano to the left to create that image, especially if it was, let's say, you're just trying to recreate up performance as though it was live, like something you would have heard before. You could put the piano on your right, the Geta on your left. And on the left of the Geta you could put, like, a violin and so on, and have fun. So let's proceed. So let's check out the panning here. So if it is, I solo this truck here, carbon particles, right? Watch what happens? When it is I pan it. So I'm going to put it. It's here at the center like this. And now I'm going to hit it on the right side and then the left like this. And that was the demonstration of panning right then left on this carbon particles sound track. Just ensure that you take mono off so that you allow the program to bring the stereo effect so that you can hear things for sure on the left, the right in between, okay? So that's that. So since I demonstrated panning, now I'm going to do panning for the other instruments that I desire to add that effect too. So let's proceed. Then I should dance around I love my p. I don't stop looking at you. 'cause I love you. A to A to A two, Oh. A two, two, two oh. Those are atom. A two, A two, oh. A two, two, two, oh, those are Those are atom. A two, A two, oh a two, two Ts are you atom at atom to two oh 22, two oh, does Heat to two oh two, two, two oh, dos Heat two, oh. At two, two oh, does Heaton, two, oh. At two do oh dost tun, two, oh. At two do And To do, Oh, girls oat tun, too, to, to do, oh, girls oat tun, too, oh to, to do, oh, those oat tun, too, Oh. Button to do, oh those oat I ain't how she dancing I love. My feel not much panning to be done again. I'm just going to add some panning to this carbon particles, but in the form of automatic panning. So I'm going to automate the panning. So how we do that just press A or however it's set on your keypad, right, show the automation lens Latch. And what's gonna happen is I want this, that plays in the center to go right and then left. Okay? So it's gonna go to the right automatically after I program it and then to the left. And then however I want it after that again. So let's pay attention. Even how she thinks, well I love. My feelings are soft. Hey, you roll it like the ocean. By coming. Follow this arrow here, and this signifies or displays the automated panning that was done by me earlier on. And if you look to the left on the truck under the component marked truck, you can see the pan parameter here and other parameters. So that's it. Let's listen back to it now. I've been how you dance around in love. My feelings are soft. Hey. Yeah, you're rolling like the ocean. Baby coming to me. Coming to me. Yeah, you're rolling like the ocean. Baby rush me B Don't hush me B, you're rolling like the ocean, baby. Coming to me. I've been how you dance 25. 25) Equalization Class 1: That was the panning now on to equalization. So let's get an equalizer. So to your channel strip on the left, you can click here by Audio FX and channel EQ. That's the one I'll be teaching. Stereo. So this is what the channel EQ in Logic PX looks like. So let me just explain an equalizer is a signal processing tool that is a combination of filters, okay? And if you pay attention to the top, right, going straight to the left, you'll see different types of filters. Okay? So here we see the lows or cut. If it is you were to apply it to a signal, that's the high pass filter or the low cut switch. Okay. Here, you have your low shell filter. All right. Then you have your band pass filters. Then you have your high shell filter, and then you have your low pass filter, which is the high cut switch because it cuts the highs. Highs meaning high frequencies, lows here meaning the low frequencies in the signal. So let's pay attention. So the low pass, sorry, the high pass filter is this. So the loser cut allows the higher frequencies to pass. All right. Option, click. This is your low shell filter. Pay attention. So I'll engage the adjustment point on the curve by clicking the filter. You click it. All right. Pay attention here, here, here. So basically, the low shelf filter is on the low end of the frequency spectrum. And when you post a particular frequency, it posts other frequencies leaning towards the lower end as we see here, okay? This is your pan pass filter. It allows a band of frequencies or a range to pass. So for example, here, you can see from about 59 hoots to 260 hoods about there that estimated range or frequencies to pass, can be boost or cut. Okay? Band pass on the high shelf, as opposed to the low shelf. This is one that you can boost frequencies on the higher end when you boost one particular frequency. So on the higher end of the frequency spectrum, as I have here. So let's see boost it from here, 58 50 hoots, right? And you boost that particular frequency, it boosts other frequencies on the higher end. Okay. All right. So yes, and low cut. High cut. High frequencies passing. Sorry, low frequency is passing. High frequent is passing. Okay? All right. Low pass cutting the high frequencies and allowing the low frequencies to pass. Low cut, which is the high pass, cutting the low frequencies and allowing the high frequencies or higher frequencies to pass. Just to go over this, the low cut switch is the high pass filter. Cuts the lower frequencies and allows the higher frequencies to pass. The high cut switch is the low pass filter, which cuts the higher frequencies and allows the lower frequencies to pass, okay? All right. So let's also pay attention to below, you'll see the frequency that the adjustment points correspond to. So this red nub here corresponds to 20 hoots it's placed that or positioned. This adjustment point here, 75 hoods, it's positioned that. Okay. And the same thing applies when you highlight the point and then look at the corresponding numbers to it. On the left, the lower end here. 20 hoots, all right. And 24 dB per octave. This deals with your filter slope. It goes down to six dB per octave. That's the most gentle. All right. And you can go 12 dB, 18, up to 48 DBs per octave. Let's bring it across to your seat better. It's more aggressive filter. All right. The more aggressive, you filter by going higher in the DB per octiveo? Is the less of the frequencies. The lower end that can be perceived along with what is not filtered. All right. And the lower you go, is the more they can be perceived, combined with what is not filtered. Alright? So that's why for base frequencies, you may want to go like 12 DB per octave in certain cases so that you filter some of the muddy, distorted part out if it's sung and distorted and muddy, but still maintaining some of the meat in the base. So This can be adjusted to adjust the curve, as you see moving right now. Yes? To get a boost there while this is cut here. All right. And moving on. Boost boost there while this is cut. Okay. So the other part let's do a band. Let's go, more in the middle. Yeah. So this at 7:50 hoots, and then you can raise the amount. I'll boost or dip to minus eat something even more. I'll cut. It'll notch. Alright. And then if you raise this, it reduces the band. So let's say you raise you go up, it narrows the band. To be more surgical and precise and more focused in your boosting and also your cutting or notching. Let's go up, right. Up to 100. And you can widen your ban. Okay? All right. And so here, 24, we cover the DB Pctave on the lower end early on, up, down, up, down. And let's go up a bit. And then the boost. Okay? All right. Also, when the equalizer is playing, you can see, sorry, when the instrument is playing and showing the information on the equalizer, it's good to have your analyzer on. So it's off now when you click yeah, it's on. Right. So yes. If you pay attention, you can see from this position the performance information for this instrument, for the kick Chorus kick is performing from estimated 20 hoods and you can raise it up by clicking here and dragging up straight up to about 13,000 hoots, Allright? So it's good to pay attention to your information there. All right. Paying attention to the gain on the right. If we boost or drop it, it will also adjust by boosting or dropping the points along the curve. So pay attention. So you see, all these points would have been boosted. You drop, that'd have been dropped, okay? Bring it back there. All right. Option, click this, drop it back. Okay, so it hasn't been raised. But if you raise it and you go up, it's quite here. Option click. Left click with the mouse, brings it back down. Can bring it down as well. You can do this for high hearts and stuff that you don't think has much pace so you can see how much pace or low frequency, low frequencies are actually performing in an instrument to filter your instruments more smoothly and more polished. So that's it on the equalizer in terms of explaining this basic information here. So, what I'll do is go ahead and start to apply it for you to hear what the equalization does. Okay? All right. Yes, so let's go and view the mixing of cake and Bs. I'll start with that, okay? So just a little inside. If you want to get this back to the flat curve before in this equalizer, hit that triangle that arrow there, and hit recall default. Sets it back. Alright? Okay. 26. 26) Equalization of Bass and Kick Class 2: So the kick. So I listen to the kick. It has some weight in it, and it has life in it. What happens is that I want to filter out some of the unnecessary low end frequencies to have a smoother mix and to preserve my head room. Also, so I'll lower the low end of the kick or filter it out and in addition to that, I'll keep some of the wheat and life in the kick and add some high frequency information for a little more excitement in it. All right. It's good to think about what you want in your mix, and as a result, you can analyze how you are going to apply that. So I want to keep the lives because it's a pop type of track one, I want to take out the low end information that's not necessary to so that it can be smoother. And I want some top end or higher frequency information emphasized to add more brightness to the truck to emphasize the life on the track more 'cause it's a pop saw, and it's a type of, you know, cool vibe as well. So, yeah. So let's proceed. Let's proceed. Hi. So from time to time, you'll see me clicking this compare button first because I sometimes close my eye and double click a number of times so that I kind of make myself or make myself not know what setting it was on cause if I just clicked, Compare and it's unfiltered, then the next time if I click once, I know it's going to be filtered. So when I double click a number of times, I put myself in a position that I don't know if it's filtered or unfiltered because I've clicked so much, I don't know which one it is, and I'll listen so that I know that I'm hearing the change in what I'm doing. So you may see that from time to time, okay? So let's get back to the process. I would have been able to filter out the unwanted low frequencies and still keep some wet and life in the kick, right? It still has some command. Now I'm going to just shape the kick to add some brightness to it. So let's proceed. Yeah, so early on, I equalized the kick. I got to filter out unwanted low frequency, keep the life, keep the command, and add some brightness to it. Alright. So now we are going to check the base. So just a little note about the bass instrument. The bass instrument is what gives some nice weed to the track itself, right. And on the bass instrument, what I can tell you is that when you have bass instruments, especially those that are very heavy in the lower end of the spectrum, you don't necessarily need to have all that low frequency, because if it plays through certain platforms, meaning different types of playback devices, it may sound muddy and unclear, and an unclean mix is what you may perceive. So what happens is that with the base, I have it mute right now. With the base, what happens is that even though you can end up filtering out, let's say, even up to about 40 hoods of low frequency, right, what you can do is apply your filter slope. Alright, so not too aggressive filter slop. So let's say you do like a 12 DB per octave, so that way you can get a blend of what's not cut out by filtering and also some of the low end frequency information to blend. So you're blending some of the wheat, the part with some of the most wet with the unfiltered part to still preserve the weight in your base. Also, even though you have filter a certain amount in the low end when you, in some cases, raise the higher end of the bass instrument, what you are doing is raising the upper order harmonics in terms of the higher frequencies which give the perception that the base is still present. So even though you don't get the low end information as much as before, you can still be satisfied with perceiving in your hearing the high end information of the base when you raise it here, like what I just did here with this high shell filter. So just a little point to note. All right. So going to mix the base basically engineer it, and then I'm going to mix the kick against the base by finding a spot to scoop out either of the kick or the base so they fit together. Okay, that's it. Yeah, so I just filtered out unwanted frequencies up to about 40 hoods there, right? So now I'm going to adjust my filter slope, right? Either to one adjustment or two, and I'm going to keep one, right? Okay. So ts more best It has more best when it's gentler. I was at 12 before, I remember. So I'll keep it at 12. Okay, so I was getting more beast in the instrument when it was gentler than the one at 24. Alright, I'll keep it at 12 and just bring it in a bit to about 50 hoods. Alright? Just to do some refinement. Let's listen to that and then continue equalizing. Now, to play the instruments accordingly and continue mixing. Alright. So it was taken out unwanted low end, or low frequency, sound information here, adjusting my DB proactive, raising upper order harmonics. So this can help cut through the different platforms such as laptop speakers and so on. Once you do it correctly, and, you know, just to continue. Hope you're having fun and thank you for being here so far. I have the equalizers for the kick and the bass in the chorus section, yes. So I'm going to play them together, and let's listen to how they sound. All right. Also, I want you to pay attention. When I'm playing them together, you'll see where the sound information for the kick is and the bass is right because you're going to do a fit between the kick and the base. So look, for example, here, I have muted the sterele here afterwards. So I've already filtered out an area that the kick is playing, if you can see. Alright, the line for the kick is going above this filter here, so that's filtered out to some degree. Alright, because the kick is actually cutting estimated around 40 hoots to estimated 115, 120 hoods, right? And now the unfiltered part that is passing through, okay, W it goes up so estimated from 75 hoots to like 120 hoots. At the same time, sometimes the performance of the bass, okay, it's coming through right here. Look at it. So for the kick is estimated 75 to 120, right. And here, it's coming in at this area and sometimes here now, like about 70 to 90, right? So I'll make some space in the bass instrument on the right here, scoop or notch an estimated 75 hoots to 100 hoots here to create space for this, this information that is around the range of 75 to 115120 hoots, right? Yeah, so an estimated range in the kicking information of about 75. Let's say, more precisely about about 65, where, you know, it begins to become an unfiltered um urea about 65 hoots to about 120 hoods. And in the base, it's an estimated 65 hoots to about 100 hoods, right? That student. So I was able to hear the filter that I applied onto the bass. Yes? At least once, I was able to hear the change. It songs more smoothly in terms of the bass fitting with the kick. You can pay attention for yourself to listen, as well. So I'm satisfied with this, as I at least heard it once. Alright. And I'm finished with this kick here. And bass, and let's move on to something else. Alright? You have kick firsts and kick Bridge, yes, other kicks. And also, I'll apply to the other basses or bass performances, yes, and move on to other instruments. Thank you for being here and for staying so far. Yes, let's move on. 27. 27) Class 3: I and I should dance around. I love. My feelings are soft. Hey, you rolling like the ocean. Babb to me. Bab I I should dance around. I love. My feelings are soft. Hey. Yeah you're rolling like the ocean. Baby, coming to me. Coming to me. Yeah you're rolling like the ocean. Baby, rush me don't rush me baby. You're rolling like the ocean, baby. Coming to me. So I would have equalized the sn in the chorus. You can see the curve on the left and then copied and paste that setting to the snare was curvy as well. All right. So that's that one thing I want to show you as well when it is you I want to place an equalizer for a number of instruments, let's see, these two instruments, dark space plug and carbon chorus, instead of having to put an equalizer or plugin on each channel, you can send them to a channel called an auxiliary channel. So for example, let's say, I'll try right here. By this plank tab with these two arrows, you click and click Bus and go to the available bus. So let's click Bus five. And what that will do is when you increase signal here, you're seeing the green display coming up there more and more. It's sending signal to the x five, right? So that we can just put a plugin on that channel and affect the 21 time as opposed to having to put two plugins. That's one thing, but bear in mind that when you send signal the auxiliary channel, it is going to get louder. So, for example, if it is you send one of those channels to the max. Like, do this with this Navia straight to the max, 6.0, then it's gonna be louder and your head room will decrease. Okay? And the overall mix. Alright, so bear that in mind. Let's proceed. In addition to that, let's undo that. Let's undo, undo, undo and you undo Hold on, do change. Okay. Undo change then, two come off there plus the x five? Alright. And remember when equalizing, think about the message you want to bring across. Let's say, for example, you want to bring across an idea that brings a soft atmosphere. Let's say you're on the vocal and depending on how it's performing to make it softer and equalization, you may want to say, Alright, I want to make this I want to make this vocal softer so I will decrease some of the crispiness at the higher end. In terms of high frequencies, I'll filter them out and drop some of the harsher frequencies if present in the mid range somewhere there to bring across that soft environment message, and you continue like that, this is a method that you could use, not that you have to, but you could use. So that's just a point to note. So continuing with the equalization process. 28. 28) Class 4: I ain't how she thinks well, I love. My feel I ain't how she thinks well, I love. My feelings are so Love and how she dance and will and how she dance and how she dance and I love and how she dance and will I love. Love and how she dance and will I love my feelings. A I don't stop I don't stop during it. I don't stop during it. I don't stop d looking at you. And I you dance around. I love. My feelings are soft. Hey, you rolling like the ocean. Baby coming to me. Coming to me. Yeah, you're rolling like Love and how you dance around. I love. My feelings are soft. Hey. Can you roll it like the ocean. Baby B, coming to me. Coming to me. Yeah, you're rolling like the ocean. Baby, rush me, babe. Don't hush me, baby. Yeah, you rolling like the ocean, baby. Coming to me. Oven, I should dance around. I love. My feelings are soft. Hey. You roll it like the ocean. Baby back coming to me. Coming to me. Yes, so pay attention. In this instrument, you hear a kind of ringing, okay? So I'll just mute this here. Ing of ringing, and while it's ringing, you see in, right, you're likely to see that this here is moving along with the ring. Alright? Let's pay attention. Yes, so, right around 400 hoods, and you see this we fomngs in here. We hearing that ring. Yes? Around there you're hearing that those type of sounds, you can notch them or drop them out. And in case you're not sure of what you're hearing, you know, I boosted this area here and you can raise it up, or you can go higher, or you can go higher to emphasize that song to see if that's what you're hearing. And then as a result, you can do the opposite, and it's plus 13, so you can go minus five to start to take it out, okay? So I'm going to take it out, and that's how you can equalize. You can boost, you can cut or not it out. All right, sometimes you don't need to boost, just notch, right? Like this. So continuing. Yes, dips, that's true. So I at least heard the difference in when this is up, as opposed to when it's notched down. I heard the difference at least once. I I heard the difference at least once, and you should be able to hear, too, once you focus on the sound, right? So that's the importance of listening, boosting to ensure if that's what you're really hearing, or you could sweep along the area like this to pinpoint the sound you think you're hearing or frequency, and then you can notch it out, okay? All right, so I'll keep this minus six here and proceed. And 29. 29) Class 5 Equalization of Vocals: This is one of the best parts for me in all of the instruments I have to equalize, because, you know, like the focal is at least the main focus in about 90% of trucks or sessions that I'm involved in or will be involved in, if not all, Okay. So a little insight on the vocals. Let's pull up an equalizer here. Channel EQ. All right. So in equalizing vocals, you can think about what you want your vocal to come across with. So if it's a song that's about love, you may not want your vocal to concentrate it with low end information because you might want it to be a softer sounding vocal as opposed to a piece heavy vocal, if it is that it's a pop song like what I have here. I have a pop song here. You know, you would want your vocal to be with some top end information, high frequencies, you know, and not too much low end information. So I'll filter out the low frequency and ensure that I have some high frequency information, yes, and you polish accordingly. So let's proceed and do what we have to do. And I'm going to start to engineer this vocal with the equalizer. So stay tuned. I don't stop there looking at you. 'cause I love you, I, too, A two A two, oh. A two, two, two, oh. I don't stop looking at you. 'cause I love you, I to a too a two oh, I do. Okay. If you pay attention, you can see from estimated 20 hoots up to 300 hoots. You can see this low end information here. Okay. And, um, generally, if you want your vocals to come through nice and smooth through your laptop speakers and other speakers that may be sensitive like mac speakers or, you know, anything of the sort, you would generally benefit yourself, or or it will be good for you to filter out at least up to 150 hoots because having all of that low information, you know, even if you just go up to 60 hoods and you leave that or 80 hoots, that might still be too cloudy, muddy, or it might not sound as clean coming through as if it is you were to filter up to 200 or 250 hoots estimated, you know? So just a point to note. 30. 30) Class 6: I don't stop girl looking it. I don't stop girl looking it. I don't stop girl looking it. I don't stop girl looking it. I don't stop. I don't stop. I don't stop I don't stop dir looking it. I don't stop dir looking it. I don't stop looking at. I don't stop. I don't I don't stop. I don't stop. I don't stop. I don't stop. I don't stop. I don't stop. I don't stop. I don't stop. I don't stop girl looking at. I don't stop girl looking at. I don't stop girl looking at. I don't stop girl looking at you. I don't stop looking at you. I don't stop there looking at you. I don't I don't stop there looking at you. I don't stop there looking at I don't stop girl looking at you. I don't stop girl looking at you. I don't stop I don't stop girl looking at you. I don't stop. I don't I don't stop. I don't stop. I don't stop. I don't stop, girl looking at. I don't stop. I don't stop. I don't stop. I don't stop. I don't stop, girl looking at you. I don't stop. They're looking at I don't stop there looking. They're looking at they're they're looking at they're looking at the they're looking at they're looking at they're looking at they're looking at they're looking at they're looking at they're looking at they're looking at they're looking at you. They're looking at you. They're looking at you. They're looking. They're looking at they're looking at they're looking at they're looking at they're looking at they're looking at they're looking at they're looking at you. There looking at you T two. A two A two, oh two, two, two, oh, on, stop the looking at you T two. A two A two, oh. A two, two, two, oh, on, stop there looking at you They're looking at you they're looking at. You they're looking at You Ts are, to. They're looking at Ts to. They're looking at You Tsat at two They're looking. You Things are. They're looking it. You Things, heat they're looking, you Things a heat they're looking You Things, Heath. They're looking You Things, heat. They're looking at you. 'cause I love you? I do. They're looking at T who I love. To who I love you. To whose I love. To who I love you To who I love you too. I don't stop looking at you. Those I love you to 22, oh I two, two, two, oh, I don't This is my equalized focal, and I'm just going to explain the benefits of some of the changes that I made here on this focal with this equalizer. So without further ado, let's go. This area here that is filtered takes out the unnecessary low frequency information so that my vocal itself can be clear and also it can allow the vocal to pass through clear and smooth sounding through an IMAC speaker, laptop speaker and listening platforms. This part here with this 2.0 decibel bump is to give the vocal some wheat. Since I took out a lot of wheat in the end, I can have here clean and still have some wheat by this 2.0 DB bump. This notch here is to add some variation in my polishing. This notch here is to team the hash type of S sound. The hash S sound correction that was coming through. So as a result, I don't have to re record the vocal to get a softer S that is team to a good satisfaction. I just have to notch it, and here can add polish, brightness. Here is the control, the unnecessary high frequencies. Okay, so that's it, and let's continue with the processing. I'm going to copy and paese this to the other vocal since I demonstrated reasonably how to equalize a vocal so you get a good foundation explanation and lecture on this vocal here. And it's just to repeat the process accordingly and make your changes accordingly. So you can mix your vocal or vocals to your taste. This is just an example, and I'm going to copy and pace this and proceed to move along with the lectures. Thank you. 31. 31) Compression Class 1: The topic now is compression. Let's proceed to get the compressor, come down to this. Come to this pathway. I am going through the various types of compressors briefly and explaining according to the information that I would have researched and found on Logic Pros compressor manual. So let's proceed. So the platinum digital, this one that you are seeing here, it's a compressor that's used on signals or sounds with first transient response, and a transient is basically that bust of sound energy in a signal that's represented by a peak or it can be seen as peaks on signals, okay? All right. So if you pay attention, you can see on this signal, yeah, and I'm showing in Zoom in, these are hansians. Okay? Let's get it. So these picks, these are transiensTp of the picks transients, okay? Also, platinum digital is a compressor that can be used on different instruments, right? So moving on the studio VCA VCA standing for voltage, control, amplifier. This is a compressor that is used on like bass guitars and low frequency signals, right? And moving on, the studio FET field effect transistor is a type of compressor that can be used at a warm type of compression. Okay? It can be used for vocals, guitars and drums, yes? So that sounds interesting to me, and I would like to try that maybe at another time, you know, and you can experiment yourself. So moving on to Opto, vintage upto is a compressor that can be used for vocals and guitars, and it sometimes is one that can be used as a limiting amplifier. Okay? So that's it on compressors. Let's proceed to do some compression. 32. 32) Class 2 : Path, you come down to dynamics. Compressor stereo dual mono, you'll choose stereo. Yes. Monon. Okay, so this is a compressor. So in Logic Pro, there are a number of compressors. All right. Yes. So we'll just use one compressor to explain some of the basic parameters. Yes? So a compressor is a signal processing tool in the world of audio engineering that is used to alter or change the dynamic range of an audio signal. So dynamic range, I mean basically the distance between The range between the loudest and softest parts of a signal, okay? And what it does in terms of when it compresses the signal, it causes the softer nuances or sounds to be perceived louder and the louder sounds to be perceived softer or more teamed depending on how you compress. All right. Yes, so we have a few parameters here. We have threshold, ratio, makeup, knee attack release, okay? And we have input gain and output gain meters. So right away, the threshold is the level, the signal level at which you tell the compressor to start to work. Yeah? So the compressor, let's say, for example, when the signal crosses -20 dB, the compressor will start to work. Okay? All right. So the ratio is the portion of decompression. So in this case, you're seeing two to one. So for every 2 decibels, going into the compressor, 1 decibel is outputted in terms of dynamics. Okay? Yes. So the makeup gain is a parameter that helps you to make back up for the level lost. All right. In terms of in the compression going down to the knee. The knee is a knob. Correction. The knee is a parameter that is adjusted by this nub here that can go 0-1 0.0 on this compressor. And what it does is basically it helps you have more aggressive or tighter compression at one direction and a looser type of compression at the other. So right now it's at 1.0. And according to my notes, learn Yes. So it says, here, conclude that the knee is more tighter at zero and looser at one for compression. So, yes, it's more aggressive at zero. Okay? So the attack. The attack is a parameter or an adjustment that tells the compressor or makes it attack how fast or slow when the signal crosses the threshold mentioned before. Okay, so when the signal crosses here, 20 dB or even if it's set at 15.5 dB. So in this case, it would be how fast to attack, how fast or slow to attack the signal when it crosses -15.5 dB. And the release is how fast or slow to release compression Okay. When it is the signal drops below the threshold, in this case, -15.5 dB. Yes? Alright so moving on. So the input gain and the output gain, right? So the input and output gain, these are parameters that are matched with these knobs here and here. Yes, you want your input to match your output. And the reason for that is to have the input matching the output, the reason why you would have that is to have a linear representation with the compressor. When I say linear, I mean you want to have a signal that does not go towards any unwanted and unpleasant distortion and a clean signal path. Yes, yes. And here you have distortion parameters. You can go to soft, hard or even clip. Alright. You have your mix button to mix the compression to mix decompression. Yes. That's it for a while. So far on the explanation part, or before I forget, you have meter where you could observe the compression taking place and you have graph. All right? 33. 33) Class 3 : Yes. Let's proceed. So I have a compressor here. I'll pull up. And let's check it out, okay? So I'm going to play the compressor and we'll pay attention to the input gin up here, shown there, and the output gain shown up here. Alright, let's proceed. So if you pay attention, look at the levels. 12 dB left to right, right? So when I call the numbers twice, I'm checking the numbers left, the number left, and then the number input and output. So 14 14, seteen 17, 13 13. So that's what I mean by input, matching the output levels. So in order for you to get a good signal path rendered in your mix, okay? So you can have a linear representation at least reasonably to not have an improper signal or a distorted signal. Okay? All right. So let's proceed. Also, give your attention. See how the needle on the graph is bouncing here. Okay. So you can view it from this side here. And also from this side here as well. You Okay. So pay attention. As I explain again, the campers sign a little bit. In terms of one or two of its parts, let's go. So it's muted for a while. It's muted for a while, so I'll play the sound afterwards, as according to how I set up this course, so let's pay attention. So I'm playing it here. All right. And let's say you're not seeing anything, no movement. You have to drop this threshold here to then see the needle starts, the bongs and your compression taking place. Yes. Now, what goes on here is then you adjust your ratio. So for every two DBs that is input, that is going to the input, you have one DB that's going to the output, Alright? Or you can adjust it three to one as well. So pay attention and observe accordingly with me, okay? Yes. Yes. I have decided that I want to compress my kicks, yes, to add some life and energy. To the beat, also my snare and my vocals. Yes, so pay attention, and let's check it out. I also want to use for my kicks, voltage control amplifier, type of compressor, any one of these vintage VCA, classic VC or studio VC since that this type of compressor, VCA is designed to deal with low frequency instruments. So I'm going to experiment with it and use it. So let's proceed. I'll take. Let's see. Which one? VC, VC. I can use. Okay. I'll use this vintage VC here. All right? Okay. 34. 34) Class 4 Timing compressor to the track : Before I continue with the compression, let me just explain something. So before we adjust our tack and release times, it is important to note that we can get more precise in applying our compression effect with respect to timing. So what I mean is you can find out the BPM, right, the tempo of the truck to apply to your song. So, for example, if it is, you know, the tempo of the track is 100 beats per minute, then you can set your attack to 100 beats, sorry, 101, according to the Campa circ as it goes 98-101. One oh one or at 98 to average the hundred s. Or you can divide that and go down to 50 accordingly, and then half of that to 25 accordingly, or even could go up. So 100, then you have 200 to be reasonable with the timing and the portions of it. So timing your compressor to your song track by finding out and applying the BPM, the beats per minute, can reinforce your vibe in your truck, and depending on how you operate, it can add to the life of your truck as you are moving your compression in time with your truck. Okay? So let me just show you you pull up here. You go to metering, BPM counter. You play your truck. It's on the stereo O to get the BPM, the beat the beats per minute, so I'm going to play the track and pay attention. This left is divide by two. This is multiply by two. You understand? To get a reasonably good portion of timing to the original beats per minute to apply in your truck accordingly. So I'm going to play it. Pay attention. It's zero right now. Alright, I'm going to play it. It's zero right now. Let's just mute. So we see 120 here. If we divide 60, if we multiply to 40, so we can have 120 on the attack in this case, 119, sorry, and 122 to EM for a timing around the 120 MS, or you can use the 60 as a guide, 59 or 62. And the same thing apply to the release. So if you want to go to E for the 60, you could get 61 or 57 and so on. So that's a point to note. Now, back to the compression. 35. 35) Class 5 : Now, I want my kick to be No, my kick is good where it is, but I want to experiment with the compressor to add more life to the kick in terms of its movement to have some more attitude, positive attitude, as opposed to being just loose and laid back. So instead of loose and laid back type of kick, I want it to be less of that and and have more upfront. Dancy type of attitude on the kick. So I'm going to in for that. Okay? Yeah. Yes, so I rematched the input and output. As you see my through here, I much the input and output. I took off the Otter release because I want to set my own release time and I just put the autogenon off because I want to set my own gain. Yes, threshle adjusted. You know, I have my attack and release times 32 and 61 in accordance reasonably with the 120 beats per minute here. So I'm going to adjust my ratio and continue this compression process. So thank you for staying here and keeping attention and enjoy. If you pay attention, there's a difference in the ratio on the compressor of one to one, two, two to one, okay? One would sound looser. The other one will sound more squeezed down or compress with some attitude, okay? Let's proceed. Here soapitention. On the graph, you'll see in this zero here. Alright. And you'll see in this dash five. Okay? So basically, what's happening here, zero, check the points. So there's zero, one, two, three, four, up to the dash five here. Okay? So if it was at five, if this needle was at five, it would be five dacibels of compression. But look where the needle is around. See, five, four, three. So about three DBs of compression, okay? This is where the needle is around. About three DBs of compression. And if we check on the graph, we see in ten here. If you go half of that will be like five dB, right? Of compression. So go up a bit and you'll get about the same thing about three DBs of compression, okay? Yes, thank you. So just a little review, we have here our input gain, output gain to match our signal level. All right. We also have our attack and release that can go in time with the tempo of the truck reasonably, at least, our knee to adjust how aggressive we want to compress, yes. And our threshold, the level at which you want to set for the compression to take place, reissue and makeup gain, you know, adding gain to the signal, the compress signal. Yes. Also pay attention to your track level, okay, which is displayed at the bottom left here by the arrow. So with the compressor on, as I said, it's about 3 decibels of compression. So when it is I take off the compressor, you'll definitely see there's change. So it's 25. Let's go from here. Hold on, huh? Let's see like a path. So it's 25.9, okay? 25.9. When I take off the compressor, remember it's compressing about three dacibels. So you add back decibels to that, it will go up in level. So then 25.9 minus, correction. At bag three dacibels, it'll go up to 22. Okay. So look at it. And 22 is actually louder in level. Alright. So let's be attention. 25.9 now, take it off. Right? So 22.7 almost 22.9. Yes. And what this can do is give you more head room because if it is when you have the compressor off, it's louder. But when you compress, it gets lower in level. Yes. Then if it's softer or lower in terms of level, soft in terms of level, then you are getting a desired result with the compression on and at the same time sieving your head room, which you can reduce distortion at the mixed bus. Okay? Yes, so point to note, continuing. So with my kick, I have some changes there and continuing. Okay. Okay. I I don't I don't stop Durga. I don't stop Durga. I don't stop Durga. I don't stop Durga. I don't stop Durga. I don't stop Durga. I don't stop Durga. I don't stop Durga. I don't So I had some compression on the kick, and I'm satisfied with the compression on the kick instrument. The kick has more life in it, more attitude that I want, more bongs, and it's dancy. I'm satisfied and moving on to something else. If I want, I could always adjust this in the mix accordingly, but moving on to something else. Thank you. Yeah. Arrows. Arrows rr stop rr stop there arr stop arr stop there stop looking at you. To two. 36. 36) Class 6 Compression of Voice : Yes, so I'm going to compress the vocals. This is one of the most favorite instrument for me to put compression on. You know, I want to enjoy compressing these vocals. And in the vocal, what I want is a focused attitude. That is what I'm going to try to achieve with compression is to get a more focused attitude of the vocal, like if the singer is focusing on the woman he loves, so a more focused attitude and a little more tense in the performance. So let's proceed. I don't stop looking at you. I don't stop I don't stop girl looking at you. I don't stop girl looking at I don't stop girl looking at you. Because I love you. I to a a two Oh. A two, two, two oh. I don't I don't stop girl looking at I I don't stop girl I don't I don't I don't stop, girl. I don't stop girl looking at you. 'cause I love you too a too a too oh I don't stop looking at you. 'cause I love you at at at Oh. A two, two, two oh. I don't stop girl looking at you. Go I love you are two. A two, A two I don't stop, girl I don't I don't stop girl looking at you. Go I love you are two. A two, A two, oh. A two, two, two oh. I don't stop girl looking at you. Go I love you are two, a two I don't stop. I don't stop. I don't stop. I don't stop. I don't stop. I don't stop, girl. I don't stop. I don't stop. I don't I don't I don't I don't I don't I don't stop girl looking at you. I don't stop, girl, look, I don't stop, girl, look, I don't stop. I don't stop girl looking at you. I don't stop girl I don't stop I don't stop girl I don't stop I don't stop. I I don't stop I don't stop gir I don't stop dirt I don't stop I don't stop I don't stop. I don't stop. I don't stop looking at you. Girls I I don't stop dirt I don't stop. I don't stop. I don't stop. I don't stop, girl, looking at you. I don't stop. I don't stop. I don't stop. I don't stop. I don't stop, girl, looking at you. I don't stop girl looking at you. I don't stop. I don't stop. I don't stop girl I don't stop um, I don't stop. I don't stop. I don't stop. I don't stop. I don't stop. I don't stop girl looking at you. I don't stop girl looking at you. I don't stop, girl. I don't stop. I don't stop girl looking at you. H runs, Aaron, Aarons Aaron, Aarons Ans Aaron Aaron Aaron Aarons Aaron Aarons Aaron Aarons a. Runs runs, runs, runs, Aarons Runs Aarons Aarons Aarons Aaron Aaron Aaron Ron Ron Ron Aarons Aarons, Aarons Aarons, Ans Aarons Aaron Aarons runs, Ron Ron Ans Ron Ron ons, Ron Aarons Aaron Aarons Aarons Yeah, so at least two times I would have been sure that I hear the difference with the compressor on forces it off, and you're getting it more tense, and as a result, you're getting a more focused attitude. So I achieve what I wanted, right? If you listen to the part that says, I don't want to, you know, you listen to it with it off, it's loose. You know, it's looser than it was before. And, um, with it on, it's more tense. So I achieved getting a more tense performance that also brings across a more full cost performance, as well. So let me just listen a little bit and continue. Yes? So I added the additional processors needed in terms of copying, you know, the satins from the equalizer and the compressor to the rest of the trucks that needed for the sake of matching up. And this is good to add it in and then present it to you, even though you haven't seen every detail because it may be a bit, challenging and tiring. Maybe even boring to watch me click on click something to hear it with and without the effect for about 40 times straight because something dies, whatever it might take to hear the difference. So at least I went through some detailed clicking and switching, and I added the areas that were needed. So now let's continue to listen to the track and then move on. Okay? Thank you. 37. 37) Class 7 Compression End: I don't stop looking at you. Those Those I love you at them. Those I love you at them. Those are at ITT Ts watt Tsat at a two oh two, two, two, oh, I stop looking at you. Those are at a t two, oh two, two, two, oh. O Ts. Puff and how she dance and room I love my field. Puffing Buffen Puff and how she dance and room. Puffing how she dance and room. Puffing how she dance and room puffing how she dance and room puffing how she dance and room. Puffing how she dance and room. Love and I should dance around in love. My feelings are soft. Hey. You roll it like the ocean. B coming to me. Coming to me. Yeah, you rolling like the ocean. Baby shm Don hme B. Yeah you rolling like the ocean, baby. Coming to Get you rolling, like the Get you rolling like the ocean. Get you rolling like the ocean. Get you rolling like the ocean. Get you rolling like the ocean. Get you rolling like the ocean. By, rush me B. Get you rolling like the ocean. Get you rolling like the ocean. By, rush me B. Yeah you rolling the ocean. Yeah, you rolling the ocean, baby, rush me, babe. Don't push me, baby. You rolling like the ocean, baby. Come into me I don't stop during at you. 'cause I love you. I too I do oh I two, two, two oh I don't stop d looking at you. 'cause I love you. It I do I do, oh I do, do, do, oh happier to have. Happier happier to have happier to have happier to have. Glad that I see you. Oh, with me, boom here I be my eyes on you and I always want to be with you. Let me do. Let me be me. Happy to have glad that I say you that I say you. Oh, with me, boom I be my eyes on you and I always want to be with you. L Happ and be. They to go happen be. They to go happen bear. They to go happen bear. They to go happen me. They to go happen be. They to go let happen bear. They to go happen bear. They to go happen be. They to let me be, you only to Baby, Rushm do us me baby only ocean, baby coming to me. Live Love me like you never love someone else. Love me like you never love someone else. I look at you and I see myself with you. Love me like you never I love someone else. And I don't stop looking at you. To two. A two A two, oh. A two, two, two, oh. It stop girl looking at you. To, to a two I do, oh, I do, do, do Oh. Love in our your dance room. I love. My feelings are soft. Hey. You rolling like the ocean. B, coming to me. Coming to me. Yeah, you roll it like the ocean. Babe, rush me B. Don't hush me B. Y. Let ocean baby come to me I don't stop during it. Use I love you to a two, oh two, two, two, oh. I don't stop during it. 'cause I love you. It I do I do, I do, do, do HappiGlad that I see you. Oh, with me, boom, here I be my eyes on you and I always want to be with you. Let me do. Let me being. Yeah, you're only like ocean. Baby shm D hme B. You're only like ocean baby come into me. Love me like you never love someone else. Love me like you never love someone else. I look at you and I see myself W you. Love me like you never love someone else. I don't stop there, M and Those are you 2a2a2, oh. A two, two, two, oh. I don't stop g and T you 2a2a2 oh a two, two, two oh. 38. 38) Reverb Class 1: That was compression, and I'm satisfied with that. Yes, so we have finished this session on compression. Now on to reverb. So basically, what is reverb? Reverb is Reverb is that washy type of sound that you hear that can tongue like a combination of echoes you stand that are slightly shifted from each other's playback time. Yes, it gives you a nice, um, a nice thicker sound. It can put you in terms of in our recreated space to song like what you were actually singing in or to bring across a message or something like that. It can symbolize reflection of one's wheeze and son can tell a sense of space, yes? So let's pull up Erie verb unit. All right. So I'll use Revo on my SNAR chorus and SNR Vuse. So what I'll do, I'll I'll send it out to EBS Bus five, that's available there. I'll name the bus here. Sneare Verb. Okay. And I'll send out some of the signal. All right. Let's do one first. So I'll send out some of the signals solo. Send it out about three quarter of the way. Yes, and I'll pull up your reverb unit. I'll use silver verb. Okay. So a little explanation. So let's go through a few things. Basically, what I'll show you dry wet and the size, along with the pretty. Yes. So dry is basically the original signal. So you'll see, right? Yeah, you've seen 69%, so it shows 69%, you know, with respect to the dry signal, right? Okay? So if you have 69%, dry, 0% wet, it's just a dry signal alone. If it is, you bring it up 100% with respect to the dry signal. If you have what? What is the effect itself, the ub effect, right? And you can balance and blend the two. Okay? That's that. You have the size of the ub here. So it can sound bigger, I can sound smaller. Yes. And you also have the pretty ley. Now, the predile is basically delaying the initial set of reflections, at least, so that you can hear your words or your instrument clearly so that the reverb would not immediately kick in to obscure or make it hard for you to understand what our vocal is singing or seeing. Alright? So that's basically it for the while. So let's proceed into experimenting with the reverb in this unit. Thank you. Two So that was hearing the signal dry, then hearing it wet. Now, this is a blend of the two. Okay. I don't stop ding you Ts of two. A two, A two, oh. A two, two, two oh. I don't stop ding you Tsat at a two oh. 39. 39) Class 2: Yes, so I'm going to deal some more with the pretty lay, right. So the pretty lee is one where I'm certain that I would have heard the reverb come in first at one point, as opposed to another. Yes, where it's coming in coming in a little later. So let's pay attention to that now. Yes, so I definitely got a difference in the pre delay because you're hearing. Who do Two different times that the reverb is kicking in. Alright. So at zero is where it kicks in faster with you. Boo. And the 200 is where it kicks in with you. That kind of delay. I hope you picked it up. So I'm proceeding and added my reverb to the snare and then to the vocal. Let's go. I don't stop ding, I don't stop ding you Ds Yeah. And how you dancing room. I love. My feelings are soft. Hey. Can you roll it like the ocean, baby. I and how you dancing room. I love. My feelings are soft. Hey. Can you roll it like the ocean. Bb coming to me. Coming to me. Yeah, you rolling like the ocean. Baby Rushme B Don hush Baby only like Yo so baby coming 40. 40) Class 3: To go through a little bit on the modulation parameter, I just want to explain some things. So in this area here, this is modulation. Under modulation, we can affect these parameters such as the rate, phase, intensity, right? In this silaverb unit, there's a low frequency oscillator that enables you to modulate the reverberated signal. Basically, what can happen here is that in doing so, you have some parameters for your modulation. So you have your rate, which you can adjust, yes, you can adjust your frequency. Or the speed or the low frequency oscillator, right? You can define or just the phase of the modulation of the refiberated signal between the left and right channels. And in the intensity parameter, what you can do is set the amount of modulation you want. Yes. And if we have the intensity at zero, that means you'll be tilling off the delay modulation, okay? So just a point to note. Um, all right, 0.5 nice. I also just want to touch on the lot and high cut parameters. So basically, this low cut parameter, it filters out frequencies of the reverb signal that are below the set frequency. So frequencies below 410 will be filtered out. So if I adjust this, it will be frequencies below 110. Hoots filtered out. Frequencies here below 250 hoots filtered out. And that's for the low cart parameter from this end to this end. On the high cart parameter, it will be frequencies of the reverb signal, right? That above 6,000 hoots will be filtered out. If I come here now, it will now be frequencies above 3,200 hoots filtered out, okay? Of the reverb signals and not the dry signal, okay? Yes. So the high cut is filter in frequencies above the set parameter in hots and in the low cut is filter in frequencies below the set parameter in hoots. Okay? Just a point to note, yes. 41. 41) Class 4: Yes, so now just going to experiment with the modulation area a bit. Let's hear the different adjustments. I adjusted the ad in the modulation area, and there's there's a sound that you're hearing. There's a sound that you're hearing that goes that goes. I kind of. Yes. And that sound is slower at 0.10 hoot and it's faster at the 1.8. Yeah? Froster the 1.8 hoods. So you can experiment and listen for yourself. All right. Okay. Now on to the feet. I adjusted the phase section under modulation. And when I did my experiment, I would have gotten I would have heard the difference about four times. All right. And if you notice, I took Mono off so that I can get the effect coming through the left and right channels to hear it wide and to hear it narrower. Now on to something else. I adjusted the intensity parameter, and what I can tell you, I heard a difference at least three times in this experiment. So what I can explain is when it says you hear the snare perform or you hear the snare itself, the effect of the song that comes after the snare, it takes longer to die out at this 0.00 mark, but it dies out or cuts off faster at the 1.00 mark, okay? So it takes longer to die out. That effect the effect of the sound after this snare hits. Takes longer to die out. It's slower to die out at 0.00 and faster in it's dying out or cutting off at 1.0. Okay? So, thank you. Moving on. 42. 42) Class 5: Yes, so just to explain these parameters of low cut and high cut, the sliders, okay? So according to logic Pros manual, the low cut slider filters frequencies below. The set mark, in this case is 20. If I move it, the set mark will be ET eight hoods, okay? So let's say it's 20. And the high cut the high cut filter here filters frequencies above the set mark, right? So let's say, at least if it is you have let's say, for instance, if it is you have this here, this look at region at 20 hoots, right? It'll filter, approximately from 19 hots go down, but it still has estimated, right, the area of 21 hots, 22 hertz, up to 30 hots 40, 50, 60, 70. Those are still low frequency regions that I will still presently have. That is why the response, what you hear, would still have some low sound in it or still sounds low. Okay? If you bring this up to here, it filters, at least, uh, from an estimated mark of 5,900 hots and down, that means you have taken out some mid range, higher frequencies. But guess what? It also filters out the lows from 60 straight down to 30 hoots to 20 and so on. So it will song high while maintaining. Since it filters everything below the set mark, it still maintains what's above and frequencies. But in the high cut region now, if it is you filter everything above 1,200 hot and higher range, it will song lower you maintain 12-12 to straight down, whatever it maintains to. However, if it is you filter, Everything above 12,000 hertz, which is at least from 12,001 hots in that range estimated there, it will still song high because since you're in the high cut, you filter everything above, everything below here has kept 12,000 hertz going down. And 12,000 hertz, 11,000 hertz, 10,000 hotz. Those are high frequencies, okay? And that's that for the while, okay? So just a little inside. You can experiment to suit. Thank you. 43. 43) Class 6: And how you dancing room. I love. Puff in how you dancing room. Puff and how you dancing room. Puff and how you dancing room. Puff and how you dancing room. I love. Puff and how you dancing room. I love. My feelings are soft. Hey. You roll in like the B be coming in how you dancing ring I love. My feelings are B and how you dancing r I love. My feelings are soft. Hey. Buff and how you dancing r I love. And how you dancing ring I love. My feelings are soft. Hey, you roll it like the ocean. B be coming. I ain't how you I ain't how you dance and room. I love. I ain't how you dance and room. I love. I ain't how you dance and room. I love. My feelings are soft. I ain't how you dance and room. I ain't how you dance and room. In how she dance in room. I love. Dp in how she dance in room. I love. Da in how she dance in room. I love. Da in how she dance in room. I love. Daf in how she dance in room. I love. My I'm satisfied with the reverb I have on this snare. I am happy and satisfied with the adjustments I made on this snare, so I'm moving on now. 44. 44) Class 7: Add step. Add step. Add step. Add on stop. I don't stop. I don't stop girl looking at you. I don't stop girl looking at you. Because I I don't stop. I don't stop looking at you. Go I love two A two, A two, Oh. I don't stop looking at you. Go I two. A two A two, Oh. I don't stop there looking at you. Cause I love you two. A two A two, oh. A two, two, two oh. I don't stop there. I don't stop looking at you. Cause I love you two. I don't stop during at you. I don't stop during at you. Those are you are two or two or two or stop stop d stop during at you. Those are you are 22 oh a two, two, two oh. I don't stop doing at you Those are you are two A two oh I don't stop ding at you I don't stop daling it. You I don't stop I don't stop dalging it you Test a two oh I don't stop d I don't stop dalging a YouT two a two oh a two, two, two oh I don't stop dialoging a 'cause I love you. At do I do, oh. I do, do, do Oh. I fan I should dance around in love. My feelings are soft. Hey. You rolling like the ocean. Be bi coming to me. Coming to me. Yeah, you rolling like the ocean. Be rush me. Don't hush me. Yeah, you rolling ocean, baby come to me. I don't stop there looking at you. Those are you are too too. I don't stop I don't stop looking at you I don't stop girl looking at you I don't stop looking at you I don't stop girl looking at you. I don't stop there looking at you I don't stop there looking at you. I don't stop there looking at you I don't stop there looking at you I don't stop there looking at you. I don't stop girl looking at you I don't stop girl looking at you I don't stop girl looking at you I don't stop there I don't stop during it and I don't stop during it and I don't stop during it and I don't stop during it and I don't stop doing at you. I don't stop daling at you. I don't stop there I don't stop there. I don't stop dialing at you. The A two A two, oh a two, two, two oh. I don't stop d looking at you. Those are. You are to A to A to oh I don't stop d looking. I don't stop doing it. I don't stop during it. I don't stop I don't stop there. I don't stop I don't stop looking at you. Do I love? I do. I don't stop. I don't stop. I don't stop. I don't stop. I don't stop. I don't stop. I don't stop looking at you. Those 2a2a2, oh a two, two, two oh. I don't stop doing at you. Does you are 2a2a2, oh, a two, two, two, oh. I don't stop dialing at you. Does you are 2a2a2, oh, a two, two, two oh. I don't stop looking at you. 'cause I love you. A to A to A two, Oh. A two, two, two, oh. Loving how she dance around. I applied some reverb to the vocals, and I'm satisfied with what I did, so I'm going to leave it at that. If you pay attention, the vocals from Foxbridge to Vox vous, they were all sent to Boss six, which is why you see these circles with the green color around because I send some of the signal to that degree of each of those tracks to boss six, so that way I don't have to put a reverb on every strip which can affect your power or use up some of your power unnecessarily. Yes, if you have too much things loaded at a time, you know, when you could you can just have one reverb unit and send all of them to that, and I'm satisfied. Also, to the bottom right, there's a D on the master strip, and this D allows you to dim your truck. So it's good to listen to the truck with the reverb. For the reason of listening to the reverb at a much softer level to hear how much it is balanced. So if you're hearing the reverb crowding out the track too much, then you may need to reduce your reverb to clay it up. This is to enable you to have a better mix and to also come across cleaner platforms, listening platforms such as cars and computer speakers and so on this can help based on how they are designed, you know, so that if it's too crowded here in the dim, it may be too crowded on the mark of the car, you know, so continue. I don't stop dialoging it you T two. A two A two, oh, a two, two, two, oh, I don't stop dialoging it You T 2a2a2, oh a two, two, two oh. I don't stop dialoging it. You Those are you are a two oh. A two, two, two oh. I don't stop dialoging it. 'cause I love you. I do. I do. I do. I do, do, do oh I and I should dance around. I love. My feelings are soft. Hey. You rolling like the ocean. B, coming to me. Coming to me. Yeah, you rolling like the ocean. B, rush me, B. Don't push me, baby. Yeah, you coming to me I don't stop dialoging at you. To You are two oh two, two, two oh I don't stop dialoging at I love you. It I do, oh, do, do oh I think and I should dance around in love. My feelings are soft. Hey, a you rolling like the ocean. Bb coming to me. Coming to me. Yeah, you're rolling like the ocean. Be rush Don't hush me. Yeah, you Yos, baby coming to me. I don't stop ding at you Ts alive. He, two, A two A two, oh. A two, two, two, oh I don't stop ding at you To alive. He 2a2a2, oh. A two, two, two, oh. Happy to. Glad that I see you. Oh, with me, boom here I be. My eyes on you, and I always want to be with you. Let me do let me being. Y, you're rolling like Yosan baby, shm B Don't me baby. Y you're rolling like ocean, baby, coming to me. Mmm. Love me like you never love someone else. Love me like you never love someone else. I look at you and I see myself. And I see my I look at you and I see myself. W you. Love me like you never love someone else. I don't stop there looking doing it, you Ts you two. A two A two, oh. A two, two, two oh I don't stop ding Gosh, 2a2a2 oh two oh a two, two, two oh 45. 45) Echoe Class 1: Yes, so I am satisfied with the reverb that I applied to the vocals. I played back the track. I switched it into the dim mode, and also played back on the normal level, and I'm satisfied with the reverb that I apply to the vocals. So finish with that and thank you for staying here thus far. So moving on now to apply some echo. Alright, so I'm closing off these windows. And applying an echo effect, delay, echo, mono. So echo explains itself with its name, echo, basically meaning in a very basic sense, I repeat of the signal. All right. So let's go through the parameters. So on the note, you'll see this number 116 triplet to a half data, you can check and apply those different delay times. All right. You can also go through here to select delay times. So you have a quarter triplet set now, then you click half, it goes to half, right? All right. This colon two helps you to put in half the current delay time. So you click this. It moves back. It moves back again. Times two helps you to double the current delay time times two times two. Alright. Feedback is the amount of repeats of the delayed effect. Okay? All right. Go up to 100% down to 0%. All right? Yes. The color it allows you to set the harmonic content or the color of the delayed signal. Yes? All right. The dry and the wet, dry is the original signal, how much of that you want to put the wet area here is the effect signal, and you can balance them against the two. That's that. Now let's proceed to actually do some experiment with this echo unit. 46. 46) Class 2: I don't stop stop, I don't stop title looking Dre looking at D looking, guys I love, guys, I love. I don't stop, title, don't stop. I don't stop title looking D I don't stop title looking Dre looking at D looking, guys I love. A few actors I love. A few actors. I love. F I don't startle. Girl stalking, go stocking, got stuck. I don't I stop start stucking looking don't stop stop stuck, Lok I don't unstartleGir, stuck in, g stuckingG stuck I don't stop start, stuck, stuck. I don't start off. Start stalking, g stoking, got stoking, got stoking, go I look, go I look. I I don't start off. Start stalking, guys stoking, guys, stoking, guys, smoking, guys. A, I do two or two or two or two or two I do two or two or two or two or two or two, two, two, I do 22020 I do 22 or two or or two, two A two, two, two oh 22, two oh I two, two or two oh two oh I 22, two oh 22, two, I two, two, I two, 22 oh two oh I two, 22 oh two oh Oh. 22, two oh two oh 222, two oh 22, 202-22-0202 2 202-020-2220 singing, 22 oh, two. Oh I experimented with some parameters, at least at least three parameters I experimented with in this echo technology, and it yielded I yielded its results. So I'm moving on now to the next process with this echo technology. Thank you. I don't stop doing it. You dole you a two oh a two, two, two oh I don't stop during at you You do I love you. I do. I do. I do, oh. I do, do, do, oh, oh. Ive and I should dance around. I love. My feelings are soft. Hey. Yeah, you rolling like the ocean. Baby, coming to me. Coming to me. Yeah, you rolling like the ocean. I don't stop during at you Ts, you are two, two A two, oh, I two, two, two, oh. I don't stop looking at you. To, you are, to a two A two, oh, I two, two, two, oh. Oh. Happy to have. Glad I see you. Oh I don't stop d logging it. You You T 2a2a2 oh a two, two, two, oh. I don't stop ding it. You You T 2a2a2, oh two, two, two, oh, oh. Yeah, so after I carried out my automation, I would have done some proper lining up to ensure that way I want the echo to take place is at a correct point and not echoing the wrong thing and so on, you know, so I'm finished lining up here with the automation edits and now to playback. I don't stop dalging it. You you to you are 2a2a2 oh I don't stop dalloging it. You You You are 22a2 oh a two, two, two oh oh I don't stop dialoging it. You you I don't stop dialoging it. You You Ta too. A two A two, oh. A two, two, two, oh, oh. I don't stop dialoging it. You You to He to A two A two, oh. A two, two, two, oh, oh. Love and how she dance around in love. I don't stop doing at you you goes live, you are 2a2a2, oh, I two, two, two, oh, oh, I don't stop doing at you goes, you are 2a2a2, oh, I two, two, two oh oh. Happy to have. Glad that I see you I don't stop, girl, You You Ts of 2a2a2 oh a two, two, two, oh, oh, I don't stop girl you you Ds of 2a2a2, oh. A two, two, two, oh, oh. I am satisfied with the echoes that I placed in the chorus of the vocals, and I am finished with the mixing of this track. Now I'm going to listen back to it and listen for different things. So when you're listening in your mix, you listen to the whole combination of the gain staging, the balancing, the equalization, compression, reverb together in a general sense to hear things are sounding. And if you find any errors, you take note of them and you go back and correct. All right. Also, you can listen for if it is, you're hearing any issues where it sounds like parts of your instruments are dropping out or being muted, then you may have some freezing issues as a result of that. Because if songs are sounding like they are getting very weak or not playing or sounding like they're being muted, then you may have fesing issues, because that is the result of feasing issues, little to no sound, okay? So you listen and you make a judgment, and you correct accordingly. And when you're finished with your professional mix, once it's sounding good, great. On the professional level you want, then it's ready to go to master, okay? So let's tune. I don't stop dialoging it. You dole or you are a two oh two, two, two oh, oh. I don't stop dialoging it. You you do I love you, too. At. I do, oh. I do, do, do, oh. Oh. Ive and I should dance around I love. My feelings are soft. Hey, a, you rolling like the ocean. B, coming to me. Coming to me. Yeah, you rolling like the ocean. Babe rush me. Don't hush me B roll Yo son baby coming to me. I don't stop dialoging it. You You Ts you are 2a2a2, oh. A two, two, two, oh, oh, I don't stop dialoging it. You Do you, too. A two A two, oh, a two, two, two oh oh, happier to have. Glad that I see you. Oh, with me, boom, here I be. My eyes on you, and I always want to be with you. Late do let me being. Yeah, you're rolling like Yocean baby ashmeb Don't hme baby. You're onin like ocean, baby, coming to me. Mm. Love me like you never love someone else. Love me like you never love someone else. I look at you and I see myself. With you. Love me like you never love someone else. I don't stop d logging it and you T two. A two A two, oh. A two, two, two, oh, oh, I don't stop doing it YouTt A two A two oh a two, two, two, oh, oh. I'm satisfied with the mix as it is. However, I notice that in the bridge, there is a sharp SO two. I'll just check to confirm, and I'll apply E DSA. All right. This is the importance of listening to your mix. So I'm going to address this situation. And I'll make any additional adjustment if I need two or if I see fit. So proceeding to deal with the DS 47. 47) De-essing Class 1: I look at you and I see myself. With. I look at you and I see myself. With you. I look at you and I see my I look at you and I see myself. I look at you and I see myself. Hi. I look at you and I see myself. I look at you and I see myself. O A I look at you and I see myself. I look at you and I see myself. I look at you and I see myself. I look at you and I see myself. I look at you and I see myself. I look at you and I see myself. I look at you and I see myself. I look at you and I see myself. I look at you and I see I look at you and I see myself. I look at you and I see I look at you and I see 48. 48) Class 2: Yes, so I did not do the DSing as yet, but I would like to what I would like to show you is that to find out where you do your dSing because if you look, you'll see frequency here. All right, you have a threshold. Okay, the level at which you set for your dSing, yes. And this is the max reduction, how much you want to reduce by and your frequency you attacking or choosing to focus your dS. At. All right. Okay, so when you want to find your frequency, you can I already had an equalizer here so you can play the material and you can see. So let's just put this down here for the while, close off that there. Okay? Hold on. So if you pay attention, you would see where it's peaking. And that's why you would see that I did something that can help by moving this peak over to by moving this notch sorry, this little scoop here to the area where the sound is peaking, right? I was able to hear difference. Yes, I have my notes here. I have two ticks, meaning I checked and heard at least twice, about twice, that there's a difference. When I put the notch here, there's a wrong there that the frequency is picking, so I could choose a wrong four k. So let's pay attention. Look at it here. I look at you and I see myself. And I see myself. And I see myself. And I see myself and I see myself. Let's pay attention to where we are seeing the spike in the frequencies. You'll see it after the 4,000 hertz area. So I'm going to play this area that is sharp in the S region, okay? So let's go. I'm going to play it, but I'll have it muted based on how I have structured this program, and I'll show you. So let's pay attention. Right? And I see myself. So right here. I look at you here, and I see myself as here, and I see myself. So pay attention, and I see myself. So it's a wrong head speaking. And I see myself with the s, right? And I see myself around this era. So look at what I did. Aroung that era where I dipped and according to my notes, what I've checked out about two times I hear the differences. So around 45, 40 hot it's speaking. So I'm going to choose this frequency as a guide for my SSN or at least around here. So 45 48, I put it back to 1510. It's on the left. So let's go now. Look at you and I see myself. Look at you and I see myself and I see myself. So And I see myself. And I see myself and I see myself and I see myself, and I see myself. O. And I see myself. Myself, myself, myself, myself, myself. Myself, myself, myself. Myself. Myself, or myself. Myself, myself, myself, myself, myself, myself, myself, myself, myself, myself. Yes, so I did the experiment, and yes, I checked it, and there's a difference in the 45 41 hoot as opposed to when it was around 7,000 hoots, right? So I would have reduced the hash S or the intense a less intense a less intense S sound. Okay? Now pay attention to the range parameter. I switch between split and wide to hear a difference to even team the S even more. Let's go. And I see myself, and I see myself, and I see myself, and I see myself. And I see myself and I see myself and I see myself. And I see myself. With. And I see myself. With. I look at you and I see myself. And I see myself and I see myself and I see myself and I see myself, and I see myself. And I see myself, and I see myself, and I see myself, and I see myself, and I see myself, and I see myself. And I see myself. Yeah, so I check in here in my notes. About three times I could hear the difference between the switch, you know, here. Under the range parameter. Okay? So there's 45 41 hoots adjusted and, you know, under the range parameter here. Just some basic guidance in the DSing here. Okay? So that's it. And the mix is finished. Yes, the mix is finished. So thank you for being here so far and tuning into the lessons rendered. Yes? Alright. So now to listen to the mix once, and that's it. 49. 49) Class 3 Playback, Listen and Bounce: I don't stop looking at you. You are a two oh a two, two, two oh oh I don't stop ing at you. You use I love you, do I do I do, oh, I do, do, do, oh. Oh. I and I should dance around in love. My feelings are soft. Hey. You rolling like the ocean. Baby coming to me. Coming to me. Yeah, you rolling like the ocean. Baby, rush me, babe. Don't hush me, baby. Yeah. Only ocean baby coming to me. I don't stop dialoging it. You You Those you two. A two A two, oh. A two, two, two, oh, oh, I don't stop dialoging a You Ts, you, to a two A two, oh, a two, two, two, oh. Oh happier to have. Glad that I see you. Oh, with me, boom, here I be my eyes on you and I always want to be with you. Let me. Do let me being. You're only like Yocean baby rush me D rush me B Y you're only like ocean, baby, coming to me. Mm Love me like you never love someone else. Love me like you never love someone else. I look at you and I seeing myself With you. Love me like you never love someone else. I don't stop d logging it. You You T two. A two A two, oh. A two, two, two, oh, oh. I don't stop ding it. You You T two. A two A two oh a two, two, two oh, oh. Thank you for being here thus far. I have finished this mix, and I'm very pleased with it and now to prepare the mix for the mastering process. So I'm finished with the mix. And I just want to show you some tips. So when you are loading out or bouncing your mix, ensure that this is not like this under the mono setting. Make sure mono is taken off. So you see Mono off, so it's in stereo because you want to be able to have a mix that is in stereo to hear what's going on, and you could put it in mono when you're ready in your mastering session to, you know, listen and assess the quality and so and so on. So ensure that your mono is off. So right now, the mono is off, so it's in stereo. There's one there. And then you select from the start so I can give myself a little, you know, room before, and it can always clip the excess or cut out the excess room in the mastering to ensure that you don't cut off a note in the starting here, because if you just put it right here, or you go across a little bit by, you know, mistiqe. You don't want to cut off anything. So to avoid any mistake, you just go a little extra, right? H space to not cut off your notes, yes? All right. And on the side as well. Click. So the line is here. All right. And I like from 19, go up. All right. So that Monitor off so Steres on. Just check back, right? So this is the gain switch. Mnoosteris on, and then you go to File Bounds project. Okay? And this window pops up here. Just to show you what needs to be done, file format, we file. That's the standard, okay? And the resolution 24 bit, sample it. I do at least 48,000, at least to go with a good industry standard, right? Nice. And then that's basically what you need to do. Okay, in those few parameters there. So, okay? D stop. Okay? So you put it where you would like to. And I'm going to put it in my folder I have here. Okay. And I'll put it in new folder called finished mix. Looking at you. Create, and then click bounds. 50. 50) Master Class 1: This is the master in session. And I would like to thank you for being here at this point with me, yes? So I have bounced my mixed truck. Replace MS, finished mix looking at you in this folder, mp three dot WV. Okay? So this is the emp three. This is the dot W, okay? So what I want to say for this is that the project setting sometimes may be different to the file in terms of the sample rate. So let's look at the file. Dot WV. Get Info. Look, the sample root is 48 kilowatts, alright? Let's go here, audio. The sample rate here is 44.1 kilohertz. So since this is 44.1, when I drag in the music file at 48, it's going to ask me if I want to change the project, sample it to Magic file, or if I want the other we are wrong. You know, or I want to change the file sample rate. So let's go and test it. Yes, mp three dot wave see dot we file, jag it in. So here it is. In essence, you can read all if you want, at your own time. Let's go through. Change project sample rate to 40 kilohert. So do you want to change the project sample rate, which was 44.1, as I said, to match the highest file sample rate or convert the file to match the project sample rate. So it's either O. So I choose to change the project sample rate of 44.1 kilohertz to match the file sample rate of 48 kilohertz, change the project, okay? So I'm going to hit this and then continue. Change your project. Yes, so that was me showing you how to match the project, sample it with the file sample it. The project and the file sample it and check at it. Sample it 40 kilohooz, okay? So it has been match cause sample it is 40 kilohootz. Let's go. Alright, so continuing. Yes. So I'm going to do some basic mastering here to show you how it is done. Let's proceed. If you check here, I stereo out. Okay? I can have An IQ. Yes. That's one. I can also have another IQ, where you go into IQ vintage IQ collection. Console Q. Yes. And also, I'm going to put dynamics, adaptive lima, stereo. So let's take off those for the while and also my metering. Level meter, stereo. Yes, peak, RMS. Okay? Alright, so let's continue. 51. 51) Class 2 Equalization: I have my channel equalizer here, and what I will do is make my adjustments as necessary. I'll post the frequencies that I want or cut the frequencies that I don't want. I'll filter out by the low and higher frequency regions so that I don't have too much base frequencies or too much high frequencies that causes the music quality to not be good when passing through, passing through the radio systems, car speakers, laptop speakers, and so on you want everything passing through correctly and pleasing to the air. All right, making it ready for distribution on different platforms. So let's proceed. Let's listen to the whole song before we make any adjustments, which is professional practice. So you'll know if it's something that you want to mix over or make any edits before mastering. Just listen to the track. It's a good practice. So let's go. I don't stop dalging at T two, oh two, two, two, oh, oh I don't stop dialoging at You De I love you. A to A too. I do, oh. I do, do, do, oh I think I should dance around. I love. My feelings are soft. Hey, a you rolling like the ocean. B coming to me. Coming to me. Yeah, you rolling like the ocean. Baby rush me. Don't hush me B. You Yo sho baby coming to me I don't stop during at you. You 'cause I love you. I too a A two, oh I two, two, two, oh, oh, I don't stop d looking at you. 'cause I love you. I do. I do. I do, oh I do, do, do oh happier to have. Glad that I see you. Oh, with me, boom, here I be. My eyes on you and I always want to be with you. Let me do let me being, you're in like ocean, baby, rush me B don't rush me baby. Yeah you're only like ocean, baby, coming to me. Love me like you never I love someone else. Love me like you never I love someone else. I look at you and I see myself With you. Love me like you never love someone else. I don't stop dogging at you and you Ts, two. A two A two, oh. A two, two, two, oh, oh, I don't stop ding at you You T two. A two A two oh a two, two, two oh oh. I listen to the track during the playback, and I have a clean mix. I'm hearing the instruments. Well, I have good dynamic range. Alright? This mix has life and I'm ready to master. Okay? So I'm going forward. I'm going to do some equalization now, so I'm going to take off at the low end and at the high end, any possible frequencies that may be outliers that can cause the master to not sound good on the listening platforms. So I'm going to filter out what I think I need to take out of the whole mix. Before when I was EQing, I would have done equalization for individual instruments. Now, what you do here affects the entire mix, so it can cut out frequencies across instruments as opposed to one instrument, okay? And you have to understand for the mid range, if you reduce the mid range is not just on one instrument. It is the mid range of the entire song, okay? And the same thing applies for the higher frequencies, you cut higher frequencies, you're cutting frequencies of the whole song as opposed to just the frequency of one individual instrument, okay? So let's proceed. I don't stop dging it. You you are a two oh a two, two, two, oh, oh I don't stop ding you You do I love you. A to It. I do, oh. I do, do, do, oh, oh. If and I should dance around in love. My feelings are soft. Hey. Yeah, you rolling like the ocean. B coming to me. Coming to me. Yeah, you're rolling like the ocean. Be rush me, babe. Don't hush me. A, I don't stop dialoging it. You toal you are two a two oh two Stop dalging it. You Yousal 22a2 oh two, two, two oh. Oh, I don't stop dialoging it. You You T He 2a2a2 oh. A two, two, two, oh, I don't stop dialoging it. You You T you 2a2a2, oh. A two, two, two, oh. Oh. Stop dging it. Stop dging stop dging it. You stop dalging it. Stop dalging it. You 22 oh stop dging it. You stop dging it. You stop dging it. You Stop dogging it. You you you 222 oh two, two, two, oh Oh. I don't stop dialoging two, oh. A two, two, two, oh, oh, I don't stop dialoging it. You you 222 oh two, two, two, oh. Oh, Those I love. Love, and I should dance around in love. My feelings are soft. Hey. You rolling like the ocean. B, coming to me. Coming to me. You rolling like the ocean. Baby, rush me. Don't hush baby. You rolling like ocean, baby. Coming to me. Love me like you never love someone else. Love me like you never love someone else. I look at you and I see myself with you. Love me like you never love someone else. Love me like you never love someone else. Love me like you, never. I'll love someone else. I look at you and I see myself with you. Love me like you, never. I'll love someone else. Yes, I'm satisfied with that level of equalization. I filter at 40 hoods, 12 decibels per octave, and I filtered at 16,000 hoods, 24 decibels per octave. I don't need to boost any frequency in the center or notch or cut out any in the center here. All right. Another thing to note is that if you boost any frequencies here, let's say you boost and 8 kilohertz by five Db, you don't want to come in the console EQ or any EQ after and boost the same one unless you want that desired effect, but I'm just letting you know in many cases, if you already boost 8 kilohertz in the channel EQ, and then you come and boost, well, not in this EQ, per se, because it goes up to 7.2 k. But in any other equalizer and you boost that same eight k you boost it already here, in any other EQ, by another five dB, you can have that ek, that 8 kilohertz too strong, and it can make the master unpleasant. So just a point to note. Any polishing or brightening can be done here in this equalizer. So I don't want to boost too much here in the channel IQ. I can do any boosting in this console EQ that I'm adding after. So let's proceed. Right? It's great out there. So that's that. 52. 52) Class 3 Console Equalization: This is the Vintage Console equalizer. It's a very sweet processing tool to add some nice polish to your master. So without further ado, let's explain as this is a basic course in mastering here that I'm showing you, in this part of the overall music production course, let's explain a few things, okay? So this is to turn on and off this plug in, okay? However, if it is that you have this button not glowing, meaning off, you won't hear your effects as you should. So, for example, let's pay attention. I'm going to add some mid range level, some level to the mid range parameter and see if you are hearing it with this if you are hearing it, at least as effective with this off. Let's proceed. Even though it's on here at the top, down here is off. Let's see if you're still hear it, okay? A. I don't stop during it. I don't stop dogging it. I don't I don't I don't stop doing. Puffing how she dance room. Puffing how she dance a room. Puffing out she dance and PuffingH she dance a room. Puffing out she dance around. Yes, so I did my assessment, and I checked it switch between in and out so that proceeding along the lines. So this here is a low cut filter. Alright. And this button Locat is associated with this. You can cut here at 50 in 60-71, specifically at 81 60 and you go straight up to 300, okay? Alright. I'll take that off. I already have my cutting going on. Alright. And what happened here is that we also have a low shelf filter. This low gain adjusts the level of the low shelf filter. Here we have low frequency button. It allows you to choose center frequencies and values in between. Center frequencies, 35, 60 to 110 between 137.5, and so on. Yes, from here. This range of 35 to 22. Okay. Mid gain. This is a filter here for the mid range. All right. This mid gain here, it helps you to adjust the level for this filter in your mid range. Yes. And also, you have mid frequency. You can choose values from 0.36, that's range to 7.2 kilohertz and even in between. So 1.63 0.2 between 1.6 and 3.2, you can choose 2.4 kilohertz and so on. Yes? All right. You can adjust the level here of this filter here. All right. And you also have your high shell filter. And this high gain, you can adjust the level on the height shell filter. Okay. So some basic stuff here. So let's proceed. I don't stop looking at you. A Aro Aro Aro Arrow Arrow Arrow Arrow Arrow Aro r o. I don't stop dalloging it. You tos of 22 oh two, two, two, oh, oh, I don't stop dialoging it. You do um, rr, stop, stop, stop. Arrow, stop. Arrows arrows. A A stop A A stop looking at you. You do love. And I don't stop there I don't stop during it. You You T two. A two A two, oh. A two, two, two, oh, I don't stop during it. You 2a2a2, oh a two, two, two, oh. Stop stop stop. I don't stop diging it. You you toalT I don't stop dialoging it. You Tzal 222 oh two, two, two oh, oh. I don't stop ding at you you 'cause I love you. I do. I do. I do, oh, I do, do, do oh. Oh and I should dance around. I love. My feelings are soft. Hey. Yeah, you rolling like the ocean. B coming to me. Coming to me. Yeah, you rolling like the ocean. Baby, rush me, B. Don't hush me, baby. Yeah. You're like sho baby come into me. Love me like you never love someone else. Love me like you never love someone else. I look at you and I see myself W you. Love me like you never I love someone else. To ensure that your equalizer does not have any extra adjustments or processing going on, what you can do is have your drive down at 0.0, like how I have it here and then begin to equalize from there or and that goes for any parameter in general, okay? According to the manual, what it says it does, you know, I chose in this case to have my drive at 0.0 not to have anything extra. Alright. Um, yeah, so zero. 0.0 there and stuff. Yes. But the focus is just on these that I I just an today, and that's that. Alright? Okay. Let's proceed. 53. 53) Class 4: On my channel strip to the left, you'll see gain, you'll see a gain, channel Q then console EQ. However, I want this channel EQ to be the last equalizer and the last processing plug in before my limiter. And the reason for that is whatever I would have done before in terms of signal processing, in terms of equalization with adjusting certain frequencies, I want this EQ curve, which is showing a filter on the low end and on the high end to be the boundary, so it does not let in any unreasonable way, frequencies pass, be on what I have filtered in the low and the higher end. You can have it how you want, in terms of the order you want according to your desire. But in this case, I desire this EQ curve be at the end, basically to prevent in a reasonable way unwanted frequencies from passing the boundary on the low and the high end filter. So this is how I want it. And thank you. This is my boundary here to allow certain frequencies to pass and certain not to pass, which is why I'll have it last before the limiter. Thank you. 54. 54) Class 5 Limiting: This is the session on limiting in the Mastering segment. So a limita is a signal processing tool that enables you in the mastering process at least to limit your signal. Limit meaning limit the level at which your song can cross or your signal can cross. All right? This is a safety tool that is used to help you to create a boundary for your song, not to pass in terms of the ceiling, at least, so that you have good quality and not distort your song and so that you don't run into any unsafe levels when listening back on different systems, okay? So let's proceed. So this is an adaptive limiter I have here last in my signal chain and my stereo out. So to get to that, if you want to get to that, you go down to Dynamics adaptive limiter. You choose steroidal mono, okay? So let's take it off. Just go through that. No plugin. Click here, Dynamics adaptive limiter stereo. All right. So here it is. So to go through a few parameters, just for the basic concept of limiting in this session, in your input, this is your input meter here shows in real time your input level. Reduction shows your amount of gain reduction occurring in the limiting. And your output shows the level of the output of the limited signal. Yes, so let's proceed even further. Your gain is the amount of gain you want to apply in your signal, right? And in this case, in your sound, okay, remove DC offset, remove DC offset parameter. When you have this on it activates a high pass filter that enables you to remove direct current, which is an occurrence that can occur if it is that you have low quality audio. So just for the sake of moving forward, I'll just leave that on. Your true peak detection is a parameter to help you to detect intersample, something called intersample peaks right. Yes. This is a very important part. One of the most important parts, I would at least say is your out ceiling. This is your to enable you with this nub below that title to adjust and to set your maximum output your maximum output level or ceiling as it is, it states here basically a point at which your signal would not cross. So, for example, if you bring it down to minus let's say, -1.7, the level would not cross -1.7, right? Yes. So let's move forward. By the way, a good standard is -1.0 for your um, mastering ceiling, right? For your ceiling and mastering -1.0 Jessi Bell is a good level for standard, right? And moving further, the look ahead parameter deals with your it deals with your setting your playback buffer size, right. And without going into too much detail, I'll just say in my experimentation of this, I took my notes of what I did before, and at least about six times the part of the song that I was playing sung squeezed down at 200 it sung about six times when I played it songs squeezed down at about 200 s, not about 200, but at 200 s and bigger at 20 milliseconds. All right. So when I say squeezed down, it soungs more restricted in terms of its performance, you know, like it can't breed as much. However, at 20 s, it songs bigger, looser and like it can breed more. So that's just insight with the look ahead, optimal look ahead. This is a parameter that when you click apply, you know, pay attention. This is a 29 in the look ahead. Click apply. It sets it to 20 Ms. Okay? Alright. So that's enough for the look ahead and the optimal look ahead, as that's not the main focus, but going back to the other parameters. Alright, so thank you. I'm going to proceed and apply some listening first, and then I'm going to adjust my levels. I'll actually leave it at minus one immediately because I don't want my signal crossing -1.0, and you could observe the stereo out as well. Yes, I'm going to adjust my gain to suit, and that's basically it, right? So here I go. One more tip I want to give is that when I am adjusting my gain on my adaptive limiter, what I'll do is observe to see that the signal level is at least between the range of -12 to minus nine. That's typically good standard level to have your master track at, so it will be loud enough, you know, for playback in a s. Alright. So let's play this if this is on and just look at it. You're looking at the RMS. Okay? And you want your RMS to at least be -12. So if I adjust this to the point, even -12.9 can work as well. TP is for true peak, okay? See, TP, true peak, RMS. Okay? All right. And if you want it higher to set up the RMS you can go up to us 10.9 as well. So let's play it back with the music and listen, okay? Alright. You can get this level meter in metering. Level meter stereo, okay? All right. Proceeding. Okay, let me set my ceiling to -1.0 because I don't want my output level to cross this turn into any distortion or anything. This is a CF good level, so I leaving it at -1.0. Let's leave the look ahead at 20 s. We're not really dealing with that. Put this gain down to 0.0 and one point to note, in my signal chain on the left, I have channel EK and console EQ. I'm switching the two. So I have the console EQ first then look to the left. Console EQ, then the channel EQ before the limiter, okay? And the reason why I want the channel EQ last after all processing, but before the limiter is because anything that is passing through in terms of frequency, I don't want it to cross this filter at 40 hoots or this filter at 16 kilohotz. All right? I want everything to pass within this range and not filter unreasonably outside of my filters on the low and high end. That's why. So since I just want certain things to pass within a limited range, that's why it last after console EQ you see channel EQ here, but before limiter. I want this curve right here, after console EQ, we have the channel after the console and before the limiter, right? So that's just a pointing note. So moving forward. Also in your masking, pay attention to your levels. At least look at your stereo out, okay? And your other levels accordingly. Yes. A point to note when you adjusting your gain, try not to send it up quickly to your ears like that or like this, to your time when you go up so that you don't play too loud of any volume into your ears too quick to cause you to get any ear damage. Also on your end. If it is that you know your volume is too loud on your output level in your hara, whatever you use to adjust your volume to the dog a bit. Especially if you're doing mastering or mixing where you may want to raise or increase the volume to a loud level. Be careful of raising the volume too, w to make you deaf or to cause any pain or discomfort. So that that moving on. I don't stop dging it. You a two oh a two, two, two, oh. Oh, I don't stop digging it. You you total IT two oh two, two, two oh I don't stop dalging it. You you.it two oh two, two, two oh. Oh, I don't stop digging it. You You T are you are too to a two oh. A two, two, two oh. Oh I don't stop dialoging it. You You total. You too at two oh but two, two, do oh I don't stop dialoging it. You You Dal to two oh two, two, two Ohh. I don't stop dialoging it. I applied some signal processing of the adaptive of the adaptive limiter to this truck, and I'm finished mastering. That's it. So what I did is, while I was assessing what's going on, I took some notes. And in my notes, I have two different types of, um notes here. So at one, I got two values of -12 in Mono on the level meter, and at the second note, I have two values of -12 and Mus 10.9 in stereo on the level meter. Again, I go over in my first note in Mono, there's two values of Mus 12. In my second note in stereo, there are two values, Mus 12, mi 10.9. And I'm satisfied with that. What you can also do is bring in a truck, bring in a truck in the session that has been mastered professionally and that's released a positive track, and match your level of your truck to that to get a guide to tomster your truck to a professional level. So now I'm going to plt the track from start to end through the adaptive limiter, and then that's it for the master. So let's proceed. One more thing, I want to take off excess space behind my truck. So here, after it finishes, you know, I want to take off excess space so I can bring this in up to about here, and I'm good there. And to the start, let's see beat and time. From the start, let's play one, one, two. Okay, that's good for me. Alright, so let's proceed. I don't stop dialoging at two oh two, two, two, oh, oh I don't stop dialoging at you do I love you. At. I do, oh, do, do, do, oh, Oh. Love and I should dance around. I love. My feelings are soft. Hey. A you rolling like the ocean. B coming to me. Coming to me. Yeah, you rolling like the ocean. Baby rush me. Don't hush me. Yeah, you Yo so baby coming to me. I don't stop during at you you love you to a a two oh a two, two, two, oh oh. I don't stop during at you. 'cause I love you. I do. I do. I do, oh I do, do, do Oh. Happy to Glad that I see you. Oh, with me, boom, here I be. My eyes on you, and I always want to be with you, Let me. Do let me be. Yeah, you're rolling like ocean, baby, rush me B Don't rush me, baby. You're in like ocean, baby coming to me. Mm Love me like you never I love someone else. Love me like you never love someone else. I look at you and I see myself. With you. Love me like you never love someone else. I don't stop dging at you you Ts, two A two, A two, oh. A two, two, two, oh, oh, I don't stop doing at you you To two. A two A two oh a two, two, two oh oh. 55. 55) Class 6 Bounce and Finished Master: I'm finished. The track has been mastered. I played it back through the adaptive limiter, and that's it. The song has been polished. It has been mastered, and it's ready for distribution. Okay? All right. So now I'm going to bounce the sound. I added a fee at the end so it wouldn't end too abrupt, okay? At the end up here. We're seeing this triangle like shape. Alright. So I set my boundary of the truck, the area in this session where I want to bounce, okay, right? So now I'm going to file. So right, file punks. Ensure that you're within the region of the yellow bar on the top, the cycle range, left to the right here is good. Okay? And then you come. And what happened is also to make sure on your gain up, make sure mono is not on, meaning, meaning that it's off like it is now. So mono is off, so you'll get the steropleFle puns. Project or section. You come here, weave 24 bit, 40,000. These are the standard parameters, interleave none. Leave that there, PCM M three, good. Alright, normalize off. And okay. So I'm gonna bounce this and then show you the file, okay? Nice. 56. 56) Class 7 Master and Mix compared : Welcome. I have bounced the file, and just to show you I replace MS, I have finished master. This is my dot wir master file here, which was dragged in here. So I'll minimize that. Okay? So this master at the top was the original truck that was mastered before it bounced. This mastered song truck here is after being bounced and imported into this session. And this mixed song is the song before it was mastered. I took off my plugins on the left here because I don't want no additional processing going on when I'm listening to the final master that was bounced and the song before it was mastered and just mixed. So I'm going to play just the mastered one and the mix before master. Alright, you can already see the different in terms of we foam size. Look at how big the we foam is here, as opposed to here and it's the same song. Just this one on top is master. The one is just mixed below. So let's proceed and hear the difference. Right. I don't stop digging it. I don't stop dging it. You two oh two, two, two oh oh, you you you Th two A two, oh. A two, two, two, oh don't stop d lagging it. You You too. A two, A two, oh. A two, two, two, oh. Puffing how she dance puffing how she dance around. I love. My feelings are soft. Hey. Love and I should dance around. I love. My feelings are soft. Hey. Can't you roll it like can't you roll it like the ocean. B, coming to me. Coming to me. Yeah, you roll it like the ocean. Baby, rush me. Don't hush me, baby. You only Yo so baby come to me I don't stop looking at you. You you to a two, Oh A two, two, two, oh, oh. 57. 57) Class 8 Lecture End: Looking at the two tracks, we can see visually, the master song has the bigger wave form sizes than the mixed song. Also, the mastered song is louder than the mixed song. There's more strength in the performance of the master track. And this is the end of the mastering. Tutorial and also the end of this entire course. So I thank you very much for being here at this point, and I conclude all of these lessons here. Thank you very much. This was Macrobin. Have a nice one and take care. 58. 58) Outro - Thank you and hope you come again: Thank you for reaching to this point. I hope you went through the whole course. If not, thank you still, and I encourage you to stick with me in my teaching endeavors. So let's be on this sound engineering journey together. It was a pleasure to serve you with this course of expert music production and sound engineering, and I hope to see you very soon again. This was Mark Robin, your instructor. Have a great one. And I'm blessed career.