FL Studio - Mixing & Mastering Music for Beginners

1. Welcome to the Course: Hello, Welcome to the mixing and mastering course in FL Studio. My name is sub j loop September of been in the music producer, mix engineer sit for more than seven years now. And I've worked with a lot of talented independent artists and record labels. At the end of this course, you will know how to create clear, balanced, consistent mixes and telling your mixes into loud, punchy and confident monsters who will be using stop and third-party plug-ins. But the main goal is to understand the concepts so you can be able to apply the moon Amy digital audio workstation. I have designed the course in an easy to follow. Many saw we'll start with setting up our project. Drum mixing section, keyboards, vocal, and then we'll go to muster. So who is this course fall, I have developed this course for produces, self recording artist and a home studio owners who are tired of spending hours researching online and the one to improve their sound quality to day. I believe the most time-saving and effective way to learn a new skill is through structured a lending. It is time to say goodbye to those embarassing volume Trump moments where you play your music at Destic commercial. So you know what I'm talking about did to you. I'm looking forward to seeing you in the course. Let's get straight to it. 2. What You Going to Learn: Hey, welcome. Here's what you're going to learn in this course. Number one, it is simpler than you think. Yes, I said it in my seven years of mixing audio, I have discovered one secret and you will think I'm bluffing until you go through this course. I don't think it's even a secret though, but here it is. Mixing can be very simple. Yep, It can. And here's how, by changing how you think and see the art of mixing. My favorite strategy is having a visual understanding of what's going on. For example, instead of saying panning is a way to push a signal to the left or right. Instead, you see it as a way to fill up the stereo field for a fuller sounding track. This way, you won't be painting stuff just as a requirement. You will be doing it to achieve a desired result and it will lead to creative mixes. Because in real life, when a band is playing, one instrument is to the left, one is to the right, the highest to the left, some sounds that dead center. And when you are mixing, you'll be taking into account the realistic way people used to hear music back then. And there's a lot of ways to simplify mixing, but I will be explaining concepts in this manner. And trust me, you will never look at mixing the same after this course. A quick summary and a breakdown of the course. Okay, So here you're going to lend the impotence of leveling to create balance, planning to fill up the stereo field. If you're wondering what is the stereo field? A stereo field is basically the distance between your left and right. You're also going to learn how to mix your drums, make sure that they hit hard. You also going to learn how to mix your keyboards and focus. Another technique you're going to learn in this course is a simple side chaining technique for clear but heavy, low end. Okay, I'm well aware this is a beginner course, which means I will be simplifying everything. And you're going to learn how to mix multiple tracks to one stereo mixdown using stock and the party plugins. But the most important thing I want you to take away from this course is under standing. After this course, I want you to go to any digital audio workstation and be able to create amazing mixes. And lastly, you're going to learn a beginner and simplified way to master your music for digital release. Some of the tools we're going to learn, which I consider the most important tools to understand when it comes to mixing. Everything else is just variations of these. You're going to learn how to properly use your EQ, your compressor, limiter, creative effects like reverb and delay and, or q naught so that your vocal mixes sound modern because we will be working with a Hip-Hop R&B each type of track. Okay, so are you ready without wasting any more of your time? Let's get to work. 3. Importing Files & Orginizing Project: All right guys, let's get to it. Okay, first things first, we go into export, clean stamps. This is to save US CPU and memory. For example, have plug-ins playing year. So if I try to mix in the same project file, I will be using a lot of memory. Okay? So what I'm going to do now is select, OK, boom, that at, at, at, at export. Clean stems, make sure everything is named. My heads. Make sure everything is titled correctly. Kick shaker walks you through all that good stuff so that you know where to find your sounds. Okay? So I'm going to pick File Export. One would think make sure all your levels max, max, max, and you're panning. Dead center did centered and centered. It's entered, it sent to know if it's no effects except creative effects like tape stops and filters. Okay. Boom, boom, boom, boom, boom. Okay, So ready. Make sure there's nothing on the master file. Wav file again, and I'm just going to say is that it's hard work. Hw HW already did this, but I want to show you, you can do it. All right, cool. Create a new folder. So HD, click Save, 24-bit, right? Make sure split, mix it tricks is selected. Thus the only way you can export separate checks in FL Studio enables split the mixer tracks, resampling. I always use 512, which is the highest quality, but it's slow to export, okay, depending on your CPU, you can use like 64, but I use 512. Let's go. Point. Click Stat. You're ready to go. Okay, but already did that. So what we're going to do now we're going to import the files so we can organize the project, get it ready for mixing. I call it stuff and just open a new instance of Studio. All right, sweet stuff. Did you do to to get right? All right. First things first I'm going to check what's the BPM for my show. The trick I'm going to mix to make sure that all my effects ON time, time effects like reverbs and delays. So it's 100 BPM. I'm going to set it to 100. Sweet of you playlist. I'm going to drag and drop. The pH separates. Sweet. Okay, and now let's export the vocal separates. Stem data. Audio clips, sweet stuff. Okay, So right now, I'm going to organize my project. Let's view the mixer. Okay, instead one right-click. Okay, roots elected channels studying from this trick, boom. And that is mapping to care. So what I'm gonna do considered these, change the color. Let's make the beat, all the bits sounds a blue. Okay. The vocals, select right-click track, okay? For LR, for all 17, right-click channel routing, route selected channels, studying from the string. So if you're using a software like Logic Pro Tools, Cubase, you don't have to manually send each and every sound to the beaks. But this is FL Studio or k. So then again, we select every day, change color. Vocals, Let's say pink. Okay, sweet. Great, So now we have all the sounds and separate tricks. Okay, let's make sure that audio output settings are on point. Boom. Okay, cool. So let's play this change from ped team to solve mode. And get right. Let's do a more organization. Okay, So this is my kick ways, my base. I'm going to put the base right next to my kick. You do that by selecting the child. Alt on the PC are left. That's how you move it get. So I want my Qi connects to my base and then all my drums on the left side crash. Okay, so now organizing to make things easy for us. Okay, So these melodies in the right-hand side, Change cola. For the melody is let's select. Okay, great, for My Drive. Picker shoes. Let's do down da-da-da. I cook. And then from a keychain base bowl, right, cool. So these are my Volcker's HUC intro. Cool. Out to the left, to the left. That's my hook. That's my intro. Those are my mass is over there. How my knee is history. Bom, bom, bom. Got denied the O. So these are harm or knee. She is the colo with a make it read this. What is this? Okay, Let's send that with the drum groove. Okay, same code to load the drums. This one. Oh good. Care. Now the project is looking clean and organized. Care. These are the main vocals. Basically. The harmonies sucks at this were a good cook. Sweet. Now the project is organized. When know where to find stuff. Again, the shining connects me, happy. I may run into myself. I'm a senior studying finance, new app, the app and happy right in I'm a Southern Sanders money. It means long way. The running away that honey. All right, see you in the next video guys, where we will start balancing, Penny, making sure our livers are on point. Maybe add some EQ to bring more clarity to the mix. 4. Levels, Panning, EQ (Intro to 3D Mixing): Welcome back guys. In this episode we'll focus on leveling, panning and using a queue. So our main focus is creating clarity and space. Okay? When mixing, always think of it this way. It would be way simpler for you if you think of it this way. In a real-world, a band is playing these peonies, vocalise, dramas, all that good stuff. Some instruments on the left side, some on the right side, some are dead center, like key, KS base and lead vocals. Maybe you have your high heads a bit to the left. We have your PI needs to be to the left, we have bit to the right depending on how you want to play with it. So that's the whole purpose of painting with trying to create space. Because even in a live setting, not everyone is playing in a dead center position. The like in E2E. The way that's done I would weeks. So when you're mixing, even if we use it, even if you're using a software, think of it that way in a realistic manner. So let me show you what I'm talking about. Let's select the loudest party, which is the hook. Shouting, finance me what? Money is. Hardly ever arrested. Girl, American example what these vocals limb is solid. The vocal, myself on as me, We are. Careless. Pin this one to the left, pin this one to the right. Muscle almost shouting, Khan asked me where. I didn't know myself. As we know, the lead vocal is dead center of the other backup left. The other one is on the right side. There is more space. It's not clashing in a way. Mazama on as me. So that is the whole purpose of mixing. Again, step 1, a leveling painting. That's number one. Even if you can use leveling panning in EQ, you will get a decent mix. The rest is just to give more live in Haines sudden sounds to make them more interesting. Basically, these are the basics. So that is panning and the next step is leveling. Leveling. Think of it this way. Let me play this kick drum. Okay, So when I'm pulling it down, think of it in a 3D world. I'm pulling it back in a way. So let's pull bit this base. Good. Bring it to the front of the speaker. Bring it to the front. Back. Good. Let's add a clip. Okay? Okay. Instead of thinking of leveling is up and down, then we'll fit this way. When you're pulling it down, you pushing it back. When you're pulling it up, you pushing it more to the front to more to the e in the way. So that's how we use leveling to create clarity and balance in the mix. Again, the next step will be q, okay? So basically EQ creates clarity in this manner. So let's select this hawks all of the hook. Okay, let's add the parametric EQ by FL Studio. Okay? So in the frequency spectrum we have three bands. Get with the low-frequency, that's where the key can bases are. And then we have the mid-frequencies. That's where the keyboards on the synthesizes and the vocals are. And then we have the trip, what we call the treble, which is the high frequency. That's where the high heads, the sharp sounds, the white noise sounds. That's way avail. Okay, so basically using an issue where remove unnecessary noise when each instrument, for example, when I'm playing this focal, you'll hear that these unnecessary noise, let me play. I've been working on myself. Shot in color as me we are. And the great thing about visual cues, they show you where the dominant frequencies are. So what you can do, you can just watch me for status though, but in future you have to practice with your ear. Okay. But let's watch me myself. Shari call asked me Why are, you know, myself. She can probably has me home with a baby. Again, like I said, 60k and BCE. This is the low end sub bass, low mid, mid frequency, high mid treble. Okay, so let me set this one to lowpass filter. Lowpass filter means we're letting the low frequencies pus and chopping off the high frequencies. So this is a filter that we use to chop off frequencies. Lowpass means we're letting the low frequencies pass while wood chopping off the high frequencies. Got it. Okay, cool. So this is a vocal. Okay, let's see, uh, what's going on yet, because the visual EQs picked up some noise. This is what's going on. Good. No matter how low it sounds, trust me, it's going to mess up with the end BCE when everything is playing altogether. So we need to get rid of those frequencies. Let's reset. Okay. It's okay. I'll just do this. Okay, Cool. So and this Volcker for clarity and making space for other instruments, I'm going to remove the unnecessary frequencies, which is the low end. We don't need the low-end in the vocal. So what I'm gonna do, I'm going to right-click here. Highpass filter. Okay? So hypos means we're letting the high frequencies pass and chopping off the low end. So highpass filter chops off from the left-hand side and a lowpass filter chops off from the right-hand side, basically. So let me play the Volcker soil, let you hear what's going on. I've been working on myself getting shot in color. So to adjust the knee, you can just scroll up. Scroll down to I just okay. So let me put myself Shari color as me way up. This is too much. Yeah. She probably has me home with a bandwagon with the best. I hardly ever rest. Yeah. I worry about a best. Yeah. I gained in nice baby. Who you think you get. You don't want to overdo it. Be realistic, listen to what's going on. If the voice of the artist has BTO flow and in a way, don't be too harsh when you like chopping off the low-end, don't go crazy with it. Make sure it sounds realistic, okay? Okay. So there's no rule is don't focus on the numbers. Basically. Don't focus on the numbers. I've been working on myself, sciatica as me. We are you know, myself. Yeah. She can probably has me who I'm with. Hey, wagon with the best. So there's a bit of low end in his voice, so I'm going to leave it at 150. Okay, cool. I'll be working on myself. Shot in color has been. So I told you that we use the EQ to remove the frequencies Stanford. And next step, which is boasting, adding more shy. I'll be working on myself. Shoddy called and asked me why I've been there myself. Yeah. She probably has me home with a be working with the best. So I'm going to boost the high-end just a little bit in this full goal kit, just 2.5 TB's. Yeah. I'll be working on myself. Shot in color as me wrap it up. Myself. Yeah. She probably has me who I'm with, a bandwagon with the best. I hardly ever rest. I worry about a best guess. Another reason we use the EQ is to cut frequencies would need, and in some cases we have to like just separate a little bit, remove a little bit, not cut the old day. Okay, so what I'm going to do now, I'm going to look for any bed frequencies in the mid-range and 10 them down just a little bit. No drama, the old thing. So we cut, we boost, we subtract, we're using E2, okay? It must not be working on myself. Shot in color as me, where should this school hours for it? To know? The band. Okay. Normally around nine key achy muscle. We're looking for the book Csound on the Volcker would just want to chop it off just a little bit. I've been working on myself. Charlene call asked me Why are you know myself? Yeah. She probably asked me who I am, where I've been working with a best guess. I'm going to turn that down over a year. Three dB. Okay. Okay. I'll be working on myself. Shani Collins, me. We update our BY myself. Yeah. So let me switch of the AQ myself so that she can ask me where they are. With the EQ. I'll be working on myself without shouting. Cholera asked me why I've been myself. She can probably has me home with a be working with the best. Good. You don't want to go crazy. It has to sound like the original voice, but you have to clean it up without going too crazy with the H2O. Okay, So now you know how to use panning, leveling. Let's start mixing a split. 5. Compression - Use Of Compression: Welcome back guys. In this video we're going to focus on compression. Get quo, bread, should compressor. Okay? So the old peoples of compression is to bring out more energy and make the instrument of walkers sound more in your face in a way. So basically boosting amplitude. So let's say these is my full code. These are the ways up and da, da, da, da, kinda inconsistent in a way. And these, these are valleys and these mountains get, so what we're doing when compressing were turning down the mountains just a little bit and bring up the lowest sounds, which are the valleys, which give you a more consistent and punchy sound. Thus, the whole purpose of compression makes sense. Great. So normally we use compression and Volcker's and drum Keats's just to bring out the energy. Okay, Law School for a studio, dun, dun a doll. Go into this section or a shoddy column. Shiny, new. Hardly ever read again. So here's what our bins wanting you to mixing. You hear about compression, you get excited. You get a kick drum. It sounds tight. It sounds punchy already. Put steel, you add compression, which means you go into take their life away from that kick drum. So first things first, you have to add weights necessary and get, so if it's already sold to you don't add salt, you're going to mess it up. We're going to eat it. So for example, this kick drum is sharp and the attackers on point B, so good, good, good. She would, these is already compressed. This is already okay. So it's shiny. New apps. And listening to the base, it's consistent. So what I can do over year, our focus on the piano one PR and or the bears because they not that consistent the musical instruments against. So we're going to start with the piano. Let's solo it because I want you to hear that difference. Solo the piano. It's a compression. Okay, I will go into you as they are Compressor by wave, but basically you can use any type of compression. Here's what you need to focus on and here's what you need to understand. Okay? So this is a threshold. Threshold is basically the point where it was dead compressing. Let's say if a set the threshold around baba, baba bar minus ten, okay? When the audio signal reaches this minus 10 point for threshold will start compressing before 10 for the compressor, just let the signal go as 0s. So the more I tend on the tertiary fold, the more signal or when we compress. And so threshold is the point where the compressor start working. Good. Ten, yeah, my question get and then we have a ratio. Ratio. Basically, it's the amount of compression you want to apply get. So L1, 20 000 ratio, basically, that means no compression at all. Okay? Then we'll have 3, 2, 1, 2, 2, and 4. 21. So 21 standard compressions not too hard, not too heavy, but it means every two disciplines that passes the threshold, we're going to let one pass and compress one. Okay, 321 out of three, we're going to compress 2 and lead 1. That's 3, 2, 1. Show that the higher you go, the more compression you apply again. So let's make an example as play. Okay. Then I didn't end. Okay. Can you hear the compression? Now it's questioning this R. Pull it back a little bit. Okay. Let me explain again. I said we have a threshold which is a point where the compressor stat Wiki. So let's play. If my threshold is around minus 9 born wine, when my piano signal passes 9.1, that's where my compression with stead compressing. Everything that happens before 9.1, it won't be touched, it will go straight. There is an original signal get that is the threshold. Threshold is the point where the compressors that's compressing get the ratio is the amount of compression, 12 000. No compression at all. Again, let's go up to does light compression. Okay? So let's go for that's a behavior compression more suitable for Volcker's. Let's go crazy. 20. I'm sure you might have not just the more I push my ratio up, the more washing of the signal happens. So the more the threshold goes up, the more the signal sounds squashed. At the same time, it's going down in volume in your way. So when you're compressing, we're kinda turning down the signal down. Now you have these guys. So I am going to push the level of the piano up. No need. We have a gain option, I guess, or this is the makeup gain. So this is to make up for the volume we lost during compression, for example, before compression. This is our signal. After compression, this is our signal. And get, it's a bit squashed and it's down in for you. Okay, let's leave it at three. So the gain knob is your makeup gain. It's to make up again for the volume we lost during compression. So I'm going to play, push it up. As you can see now, the piano hits hard. I'm sure you've noticed that these in ad tech and released. Nope. Why did these I take basically, it's how fast the compressor grabs and compresses the signal when it passes minus 9, 11 in this case. So a faster attack which is 0 comma 15, this compressor, a super-fast. You didn't even hear the original signal in a way. So it'll why they're so slow it down just a little bit again. And then we have the release. The compressor grabs the signal right, and let it go at some point. That's where the release comes in. So this is where you determine how fast or slow or the compressor releases the signal to its origin, salt or get. So let's play with the super slow. Release. Super fast. So you'd barely hold the signal in a way. So for this one is a live it as severe as limited. Okay. But these numbers are not draws. Do what sounds right to you. Again. Do what's Psalms, dope. Let's play with the compressor. Okay, with that, the compressor, you see less energy. With the compressor, more energy. So let's play the piano with all the instruments. Shoddy column. Mu out the long way. Maybe a half away from your mouth. Bill is brought me from my shoddy got myself a GI bleed on. So my piano, which is my leading instrument, sounds due soon and sars more punchy. I don't see the necessity to add compression to other instruments. So I'm going straight to voltage range shadow. Remember, if you think there is a need to add a compression to your Shade Guide sounds a bit weak. You can use the same technique I used. It's a compressor. No matter what kind of compress, it's going to have a ratio at threshold, makeup gain and release an attempt, okay? So you do what makes sense to you. We don't have to add compressing on every day, basically get compressed the hook. Let's focus on the main lead. Shoddy call asked me why I've been I've been working on myself, shoddy going to ask me, Well, why do you know myself? Yeah. She can probably as me who I'm with, Abby working with the best one. Let's go with four to one ratio to shutting call. Asked me why I've been I've been working on myself. It's shot. Didn't want to ask me, wow. You know myself? Yeah. She can probably asked me who I am with Abby wagon with the best. I hardly ever rest. Worry about it best I gained in that. You see, at first you didn't even notice that breathing cell sheets, all that stuff. But when I started comparison, you can see the lowest sounds are studying to shine a little bit more. That's compression. Shutting call asked me where I've been. I've been working almost released to be like 80 milliseconds sooner service shutting call asked me we are been, uh, been working on myself, shot in color as me. We are been a bit myself. Yeah. She probably has me home with a be working with the best. I hardly ever rest. I worry about the best I gained in my baby. I felt you can hear that the vocal is more punchy, is more energetic. Now, let's remove the compression and play again. Sciatica asked me where I'll be, I'll be working on myself. Shoddy gonna ask me where are the white you know, myself? Yeah. She probably has me home with a B well, with the compression shutting call, asked me why I've been I've been working on myself. Shouting colon, asked me why I've been I've been working on myself. Yeah. She probably has me home with a be working with the best I hardly ever read. So let's play it with the instruments and remove the compressor. Shoddy colleagues, Shani colonize new apps with the compressor, shutting call myself. Now it's more present in the mix. It's taking up its own SPC. Shot and colleagues new API. Myself, Johnny gonads, me. We update the wagon on myself. She won't run. He has me who want to be working with the best. I hardly ever read. I worry about a bear. Barefoot. You away from your mouth. Billie's black me, from myself, shoddy colleagues, me labs at the wagon on a Friday as me who on the wagon with the best, I hardly ever rest. Great stuff, create stuff. Let's add coercion. So I'm going to use the R Vaux compress. So in the harmonics, which is the backing vocals, just one note to compress it. Display web. Web minus nine sounds dope. Hello, value back little bit. To the same thing over year. Just to give the pig skins energy. I've been working on myself. Charlene colleagues, me, we are bit about myself. So you can probably has me home with a bandwagon with the best. I hardly ever rest. I worry about the best gained in Niobe, the AFL for you to save the hook, compress and settings. Good data. Compression. Shown. Great vessels because the same guy singing and the same input. Open, loader, open. So all you have to do is to adjust to already done instead of starting from scratch whenever tick open. Okay. Let's play shutting call. Asked me where I've been. I've been working on myself, shot in color as me. We are bit about myself. She won't broadly as me. And let's play. Shari, call me myself. Shani can ask me, well, she wasn't running as me who are the best. Hardly ever rest away from you, who have been new? To me, from myself. And I'm sure you've noticed that after compression it was tell it not to seeing things like Brian said Shane's noises that we want. So let's solo the hook. Yarn. E. Coli asked me where are big being myself, Shot econ asked me why I've been I've been working on myself. Yeah. She shot in color as me. We are been a bit shoddy call asked me why I've been. So what I'm going to do, I'm going to select none. Full studio shop is quite area. This is where the predicts sexually shutting cholera asked me we are been a bit with the shutting call, asked me why I've been a bit. I recommend you to do this even before mixing, before painting a leveling. Just go through every step of the Volcker, chop off the breathing sections because we start compressing those sounds. We'll come up of two compression. So let's blend jarring call asked me where I've been working on myself, shot in color as me wealth, shouting, often. Shoddy, going to ask me, we are bit of both of shoddy got asked me Why are, you know myself? Yeah. She can probably asked me who I am, where we're going with the best. So this is vocal editing. Make sure you do it is okay for a more clean mix. Myself. Don't worry. We will have delay and reverb to cover those gifts. Don't worry, we're going there. But I wanted to show you why this is necessarily self. Self. Self. Yeah. She probably has me. That's him catching his breath. Remove wouldn't want that. Boom, boom, boom. And with the best, remove, we don't want that. Please make it a habit to edit your vocals before you start mixing because you will make your life way is you remove this breathing sections. Cooh gives shop it off. Ooh. My villains black me from my view. Jotting call asked me where I've big eternity late hours into it now. Without those breathing sections. It's on point. And you do these on your backings and everything. Just make the time separate the time to edit your vocals, which is removing the preceding sections, the low noise, the unnecessary noise, so that when you start mixing, you just focus on mixing. Okay. So I want you to hear that difference. Shani can ask me without me even with the best. Let's go back to it. So compression, we use compression to bring out more energy, would do that by bringing up the lower sounds and making them even a little bit, even not to squashed with the higher cell. And that's it for this video. In the next video, we will focus on spicing it up, adding reverbs, delays, a discussions, and our acute just spice up the mix and the sulcus. See you in the next video, guys. 6. Vocal Compression - Stock Plugin: Welcome back. In this lecture we're going to start applying compression, but we're gonna be using FL stock compression. Okay. Going forward, I will be adding more FL stock plug-in alternatives for someone who doesn't have that bite plugins. So what we're gonna do now, we're going to insert fruity limiter, which is the limiter, but it also has a compression feature. We're gonna go to fruity limiter. We're going to switch it from limit to compressor. Okay, I have it on the main whole Kool-Aid. It's un-solo. So let's play the vocal. Blesses. What I love most about the fruity limiter. It's that it has a visual representation of what we're doing to the signal chain. For example, you can clearly see the input waves, the blesses. So what we'll be doing now will be compressing this Volcker for more punch consistency and more amplitude. We're going to do that by crushing down the high peaks and trying to match them a little bit with the low values over here with a threshold point. So this is the point where the compressor will start working. We have a knee. This is how sharp the compression grabbed the signal and we have a ratio. This is the amount of compression. Okay? So let's go ahead and set to four to one compressor tendon, the ratio, rho, the blesses. They never stop, right? So while we're turning down the ratio, listen to the difference. Bro, the blesses, they never stop going good. That she was a fresh did did she for sure? I take the package and then I go I get the bag. I deserve this for my bro, deserve it. I charge a fee for service stood out that President, I deserve. Well, let's push up the knee just a little bit. So it's 25 and push up the ratio 4.5 to one. Let's play a role. The blesses, they never stop going good. If your switch off the compressor. Bro the blesses sweatshirt on. Bro, the blesses. I'm pretty sure you can hear that we lost some of volume while we are compressing. Because basically when you're compressing with doing gain reduction, we're turning down the pigs trying to match them with the valleys in the world. So over here you can see the amount of gain reduction we are doing by the dips over here. Okay, so hover over with the mouse, which minus two dB. Let's play row the blesses. Good. Let's push down the threshold a little bit further. Let's do something like 19 play row, the blesses, they never stopped going good. That she yours a fresh did the shift for sure. So I take the package and then I go back a little bit. I get the bag. I deserve this for my bro. Deserve it. Bro, the blesses. They never stop going. If that's yours. A fresh did, did, alright, 1819 minus nine blesses. They never stop going. If that's yours. A fresh did did Let's shift for sure. I take the package. Right. So right now we're doing the minus four, minus five, minus 5.5 dB gain reduction. So to make up for that, we're going to use the makeup gain, which is boosting the same amount, which is four to five dB and play row the blesses. They never stopped. Going. To the right side. You can see that we have an attack knob. This is how fast the compressor grab the signal at the moment to have a 0 milliseconds, bro, the blessing, which is way super fast, we're going to push it up a little bit and do something like that. The less play all the blessings. They never stop going. Get your wish done. Little pellets to 20 milliseconds. Display row, the blesses. They never stop. Go and get your clothes. A fresh did, did nice. Alright, so the release, it's how slow or how fast the compressor, let's go. Okay, let's, let's push it up. I want you to hear it. Bro, the blesses, they never stop going. If that she yours a fresh did that shift? Right? It holds the signal for a bit longer. It takes time for the signal go back to the original one. So right now, let's push it to something like 80 milliseconds. Let's play row the blesses. Yeah, They never going to shove the compressor. Row the blesses. They never stars who should own bro, the blesses. They never stop, right? As you can hear, there's not much difference in volume. The difference is it has more punch, more amplitude, it's more consistent now compare to the original signal, and that is the purpose of compression. Okay, Let's played with the bid row, with the brushes. They know going good. That she right, let's pay the loudest part. Grow the same. Without the compressor the compressor row, the one that she chose, a fresh did I think Becky, I get the bad guy. Remember the parameters are set not to rule. You can always adjust things to your liking, okay, if you feel like this compressor is way too much, you can just go easy on the ratio or the threshold point. For example, I think I can go back to that fourth one row, the one who, great, the lecture continues. In the next one, I will start compressing the verse and the backing vocals. We'll see you in the next one. 7. Vocal Compression - Stock Plugin Part 2: Alright, welcome back. Now, it's time to compress the vest section. Let's play it with the bid. Amount is screaming. And then I'm jogging was vague. Doesn't matter. Still paying. Alright, great. We need more punch and there's more consistency, more energy. So we're going to use a compressor. What this verse, I want to use a different compressor because I want to have an understanding of more than one compressor. And so we're going to use Fruity compressor. This time we're going to use our ears. Okay, I'm going to set the ratio 2421. Remember, no matter how crazy I can go with the threshold, if my ratio is set to 0 to one, it's basically not going to compress. Okay? So I want to set the ratio to four to one. Girl first things first. And then I'm going to push down the threshold while listening to the signal. Let's play. Yeah. Oh my homies rocket Street made I let them talk. And was that CFA it doesn't matter if we still paid, uh, does it better off to still paint is crazy. I never feel saying you can hear the compressor turning the volume down. Let's play. Yeah, All my homies rocket Street made. I let him talk and was that she had fake it doesn't matter. It will still pay a dozen. Yeah. Alright, let's just add text to something like 25. Let's play just the realists also something like 75. Again, I want to first release button. Notice super-fast one. That's why I'm setting it to five milliseconds. So I'm going to adjust the type to soft player. My home is Rocky Street made. I let him talk and was a CFA. It doesn't matter. It's just the threshold a little bit. Turn it to my home is Rocky Street and switch off the compressor. Yeah. Oh my homies. Rocket street may, as you can see, this basically has the same function. You have the threshold, you have your check your release, your ratio of your makeup gain. This is just the type tool where you can set if you weren't a hot compress, vintage type compressor or soft compressor. Okay. So I'm going to set it to vintage. Yeah. All my homies, Rocky Street Med I let him talk and what gets pushed down a little bit. Yeah. Oh, my homies rocket Street made a switch it off. Yeah. All my homies. Rocket street. Yeah. All my homies rocket Street. Med I let him talk and was that CFA it doesn't matter. It will still pay. So shut off. Yeah. All my homies rockets switch it on. Yeah. My home is Rocky Street made I'll let him talk. And was that shift phase when I push it up a little bit, Let's try three dB player. Oh, my homies, rocket Street made, I let him talk, push it up again. Makeup gain four dB. Yeah. Oh, my homies, Rocky Street made. I let them talk. And was that shift fake? It doesn't matter. It will still pay. I don't want the vocoder sound to compress, but this is a reverse. I wanted to hit hot. So let's play. Yeah. Oh my homies, Rocky Street. I let them talk. And was that shift fake? It doesn't matter. It will still pay. Uh, does it better off? Still pink. Now you can hear that it hits hard. And the reason we use a bit heavy compression and vocals because of the dynamic range. What does dynamic range? Basically, dynamic range is the distance between these peaks and low sounds, okay, that is dynamic range and vocals have a high dynamic range typically, sounds like bases. The range is a bit tight in a way, so it has low dynamic range. Since vocals have high dynamic range, I normally use a ratio like for our ports. Good. Let's play with the bit o. My oldest rocks are made and then I'm targeting was vague. Doesn't matter. You still pay without the compressor. Wow. With the compressor. My homies Rocky Street. May I met him talking and was that she had vague doesn't matter. Still pain. Does it bend off? Push up the volume a little bit. Oh, my home is Rocky Street. Made. I met him talking, I was thinking doesn't matter. Right. Let's play it from you. Your oh, my homies, rocket street. May I met him talking and wasn't know that this sounds more punchy, more present, more dominant to care. So what are we going to do? We're going to compress the beckons. We're just going to do like compression on the back and trucks. So what I'm gonna do right here, I'm just going to go straight to solve this one. All right, bring up a compressor. Let's use the fruity limiter. Switch it from limit to compressor. Sit the ratio to something like three to one a bit light tendon the threshold while listening to it. Attack, I want it fast but not crazy for us to a point where pi is not allowing any of the original signal gets. So let's do something like 20 year also set the ratio to something like 87, right? For the makeup gain. As you can see, what DP in something like three to two dB. That's like two ATP to ADP. So I'm going to do a boost which is 2.5 dB gain. Alright? I'm going to quickly save this preset to save time. Save precede as baking comb. It's played with the vocal. They never stop going, getting without the compressor. They never stopped going there, but it's not really the compressor. They never stop going getting your nicely. Let's do the same thing with this beckoned Volcker. We're going to pull up a fruit to limit to go to my browser, which I can drop that presage. Remember the procedure, just save back in Comp drag and drop it. Now we have the same sentence. Let's just adjust the threshold a little bit. Let's play your right to set the gate to 0 again. Oh, sure. I get the bag I deserve. It. Stands for my row it is. But it's push-up ratio. Then. Yep. Right, two comma five dB. Let's push two comma five dB. Let's play without the compressor. The compressor. Nice splenic vein going good. That she did. That she should. I take the Becky's and on the main leader little bit and go, Oh, my homebase rocket stream. May I met him talking was that CFA doesn't matter. Still pain. Does it better? Still, nice. And that's how you compress using Alpha stock plug-ins. And so in the next lecture we're going to start softening the S is using a DNS or technique. Basically it's compression, but it's focused solely on one frequency that normally has those sharp S is okay. That's it for this one. I will see you in the next lecture. 8. Kick & Bass, Vox De Esser: Welcome back guys. In this video we're going to focus on site chaining, kick and base, so that they work well with each other instead of clashing. And we will do some de-biasing on the vocals to soften the shop S's. Let's get to it. Okay, So these a lot of ways to tackle Keq and base, but our law is the biggest topic because everyone is trying to wonder if the keychain base share basically the same space, which is the low sub area. How do I mix them? I'm not a big fan of just throwing EQ and compression everything. So what I would say is do what makes sense. Okay? They are bases. That sounds dope without any compression. You can just use compression just to boost the shining areas in a way. And they are bases where around the Me Too high frequencies, there's just no choice. But to me if it sounds dope, I don't mess with it. I don't want a thin sounding mix at the end of the day. So chopping off in each doing everything a, it's going to break you had met, you just have to be practical and realistic about mixing so that your final mix sounds that way. You went because at the end of the day you going to play a productions with the core Michelle songs. So let me play the space. Let's look at the dominant frequencies. Okay? So by the sound of the bass, you can see it's a sob base. So basically there's not much going on over a year. You these much going on. I'm not saying there's nothing going on. There's not much going on. So even if we leave this, you don't mess up our mix. It will just add more of the old mix. But some people will chop off and leave it like this. So the only thing playing Yale pianos focus and everything, I recommend you do what makes sense. But in this case, I'm going to just 10 down, maybe six dB's of the mid and high frequencies of this base. I'm not going to chop it off completely. Okay? Perfect. On my EQ, a boosted around 78, right. Get on to get more punch to it. So I'm going to add these tall. She had distortion plugged in. You can use any distortion plugin. Let's look at distortion. Okay? Okay, we're going to use a distortion plugin to add more to the kick. So I'm going to use the add distortion. It's a free plugin. Let's look at the presets for snare drum. Bass drum is remove it. Let's add. Okay. It's tend on the mixture solo bit without with. Let's go. Not too much, but it's there. Yeah. I'm not going to mess with the drive because it sounds top essays. Okay. So you can use basically any distortion plugin. You can even use transient shapers to add more high-tech and OEM 52k IQ. Okay, let's play play with map-based. Okay, now I can bring up my base just a little bit without taking away shine from my kick because I already added some distribution so that it stands out. Anyway. Let's go back. When I did edit EQ to my base, chopped off around six dB's, my low, mids, too high frequencies. I didn't chop off the whole mid and high frequencies are more base because I still want those frequencies in the mix. And then on my QC, remember when we're busy with like balancing the mix, edited EQ around 78, boosted to give it more energy. And then edited distribution. Now the energy is there, but for more clarity, we are going to use side chaining. So let me explain real quick. What is like chaining? So site chaining is basically a technique we use to create space or to create an effect. For example, in dance music like EDM, they use side chaining as an effect to give the song more pump. You'll hear that bees when it goes up and down, woo, woo, woo, when the kick hits. So whenever the kick hits, it dibs at the base in volume n goes up real quick. But this is a Hip-Hop R&B track. Wouldn't want that effect. What we want. We want the base to dip just a little bit when the kick hits without anyone noticing. But for more clarity, That's why we're going to use site chaining. So this is my base and this is, let's say this is what KYC, So whenever my kick hits, my obeys goals. So the kick hits and the volume of the base goes down just a little bit. But you are taken so that the average listener will not notice it, but still hear the kick and bass at the same time. I'm sure you're wondering on commercial songs, why is the kick so clear and punchy and the base is so clear and punchy. Use the same technique, most of them though. So there's a lot of ways to do this, but site chaining, I recommend that one. So I'll say It's the best way to do it. So what I'm going to do here, I'm going to select my kick and right-click on this arrow, right-click side chain to this shot, not say gender, this trick only side chain to this trip. You selected the gig, side chain to the bass track. I get, Let's Play. Nothing is happening. Why? Because we don't have a compression. So for site chaining, we're going to use the fruity limiter. So it's on limit. Now, let's set it to compress shin. We're going to use it as a compressor. Okay. You're going to see a side chain option yes, linked to one. So we're going to use a fast attack and release sustained forest again. So let's pull down the threshold. This in the knee, all the way up, the ratio all the way up. Let's go crazy because I want you to hear what I was talking about. Let's pick up listen carefully. When the kick hits, it even shows you when the kick hits as a base goes down in volume. And it goes back up real quick because the attack and release a set to 0, which is phis release first attack wouldn't want them to notice that we site chaining all we are dipping the signal basically. Okay? So let's play again. Okay. Look at it on the mixture. Look. So that's the whole purpose of site chaining. Now one clear, punchy kick and we want to clear but punchy B's wouldn't want a compromise. So instead, site chaining is there to make them work together and share the space in a way, we can always add some to the base. Let's use the base by waves. Let's go baby. Without doing anything, you can hear the difference. Let's mute. Push it back. Okay, we wanna do in Mongolia, this go up smeared on mute. Okay, Let's check on my EQ. The most dominant frequencies around Savannah. So our base frequency, I'm going to focus mostly on 75. This is too much split bed the volume just a little bit. It's removed. With Punchy, heavy bass, but clarity again. And that's how you mix your Keq and base. There is no rules. There's a lot of ways to do this, but this is how I do it. This is what works for me. Okay, so we'll go into the next phase now, which is ds seeing softening, Ss on Mars or vocals. All right, let's go. Shutting call. Asked me why I've been I've been working on myself, shoddy color as me, we are been myself. I'm going to use the waves are DSO. Let's go shutting call asked me we are bit. Let's push back the threshold to 0 first shutting call asked me where I've been shutting shutting call asked me where I've been shutting call asked me it's shoddy call asked me where I've been I've been working on myself, shot in color as me. We are busy. Myself. She probably has me whom we'll be working with the best. I hardly ever rest. We're going to use the threshold to determine how much of the essence to apply. Shutting call asked me where I've been I've been working on myself, shouting, called and asked me why I've been I've been working on myself. She probably has me home with I've been working with the best. I hardly ever rest. I worry about the best I gained in my baby. A alfalfa shutting call asked me well, sharding call asked me we are shutting call asked me we are shutting colleague, shutting colleague, shouting call asked me. Shouting colleagues, shutting call asked me we are bit of too much shutting, shutting call as shutting colleagues me, we are shutting call asked me we are shutting call asked me we are shutting call asked me. We are been shouting call asked me why I've been so around 6.2 k. That's where most high and hush sounds. Around six key five, key seven, K, depending on the vocal shouting call asked me we are been shot in color, so you don't want to do it too much. Okay. Shouting, shouting, call myself, shotgun, mic. So let's mute the RDS shot in color. That's shouting call it as mu it. Again. Shutting call asked me we are bit let's switch it on. Shutting call asked me why I've been I've been working on myself, shoddy color as me. We are been myself. Okay. She can probably asked me whom we'll be working with the best. I hardly ever rest. Yeah, I worry about a best. Yeah. So remember on the EQ, low frequencies, mid-range, high frequencies. So this is where we'll find the sharp S is on the full cool. That's why more focuses around seeks key range five, key seven, K. So we'll drop him off those harsh Ss shutting call asked me where I've been shut. So the message of the LDS sciatica asked me, we're happy. Sounds more soft to the ear, shot in color. As me, we are a long way with Holly. So on this backings, I don't have to enter DSL already created a radio effect, which means the frequencies no need to ds that shot in color. Foot Locker showed you be four. Make your mixing easy for you, for example, are found perfect settings for these focus. So I'm going to save this preset so that I can drag and drop it to like veces and then adjust according to that. So that's what I'm doing now. Okay, great. So I'm going to add our idea. So yeah. Like I always say guys, you don't have to redo the same thing over and over again. These are your settings. So you know, taking any shortcuts, you did this, you know. So using precedes and saving your presets is a smart way to see your time. All right, cool. Let me load this idea. So year. So let's play it. Okay, great. Let's play. Hardly ever rest away from you or from our connect the blogs. Baby Abby home. Then collect the case. Then collect the cash, and then collect the cash book maybe in the amnion. And remember what I said, you just adjust for DSA shabby home. But maybe you don't have to change anything. I don't wanna lose. The firm may set the compression. Let's just from the presets. We've made DSA baby from this pool, but the threshold baby from May, mammal MoMA's gain on his way like you is and men can ask me, lapping up a wagon on myself. Holly ever rest? And that's it for this video, guys. And we have a decent mix to add the final touches or a queue and the tendon, the node editor has an effect on the Volcker's reverb delays and prepare for my story. I get to see you in the next video, guys. 9. De Esser Stock Plugin: Welcome back. Now it's time to apply a D as a technique using only FL stock plug-ins. Okay, so let me quickly explain what ideas about. So basically a ds is a compressor, but it focuses on one specific frequency, normally within EQ with deep or both frequencies, right? But if I make a frequency cut with the EQ, it's permanent, but with the compressor with that frequency pops up, it dibs it in volume, and continue playing at the same level until that frequency pops up again. That's the advantage of a DSA. Dsa plug-ins are just compressor plugins designed to focus on one specific frequency in FL Studio, we don't have a DSLR plug-in that's specifically designed for it at the moment, but we do have compressor plugin with precedes to do exactly that. So in most cases, you will find the sharp S is between five k, 5.57 k, in-between five K and seven K. Okay, so what I'm gonna do, I'm gonna compress those specific frequency first, we're going to sweep around and find that troubling frequencies. I'm going to pull up Maximus, who already have a preset to this. We're going to use the ds and narrow band. Basically. It's already selecting this region where the sharp S is a normally. Okay? So I'm going to solo this, meet the band right here, swallow it and play. I'm just going to narrow this band a little bit more. I want to focus on five k and something like six k. Let's play. Right? Let's widen it a little bit. From 3.5 to seven k. Let's play cobalt to the med. Right over here we have a compression tool kit. Basically this is a threshold point. This is a knee and this is a ratio at the tape. This is a selling point on it. When you hear that yours, something very loud pops up over here in the input socialist play. Look at it. Blesses. So right now we're focusing on those assets, okay, So I'm going to turn down the threshold using this point. Right here. Just the knee ratio. Let's Play. Now we have softer S's because we are compressing that frequency when it starts to go up in volume. Okay, For example, let's play without that adjustment. You can hear us go down and threshold again. Now it's soft. Great, That's to show off that maximus play their present any deserve each row the blesses. Let's enable it. D solar that band, which is the mid-range. Let's play that precede any deserve each row the blesses. But soft again, let's switch off the maximise. Their present any row the blesses. Okay, let's enable it. Bro, the blesses. They never stop, right? We can go crazy with it a little bit more. Bro, the blesses, they never stop. Nice. Go and get it right. Let's go ahead and save that adjustment. We're going to save our preset over here. We're going to say As. And then I'm going to go straight to the vest section. I'll let him talk. And was that cf fe it doesn't matter if we bring up the maximise play. Yeah. All my homies Rocky Street made I let him talk. And was that cf fe yeah. All my homies rocket Street made I let him talk. And was that cf fe it doesn't matter if we still paid enable it. On my home is Rocky Street made. I let them talk and was a CFA. It doesn't matter. It will still pay. Does it better off to still paint? It's crazy how I never feel sad, I pass that home is like it's prepaid. The ribosome is not a main man. I'm the new drug IV like Lil Wayne and prefer this technique a bit more. It's a bit advanced, but it's more straight to the point. It's more practical because you can hear from 20, that's low frequencies, right in the EQ, going up to 20 K, which is the top frequencies, our own five K27 k. That's where we'll find the sharp S is my selection of around, around 3.726 K and focus on compressing that sexually and can give you soft. That's basically what we're saying is DSE is compression but focused on a specific frequency. And that's how you Diaz focus in FL Studio. If there's something you didn't understand, feel free to send me a question. A question is different from a review. Send me an inbox or question where the Q&A section and I will respond with the video. That's it for this lecture. I will see you in the next one. 10. Reverb & Delay (Creative Effects): Welcome back guys. It's time to spice up the mics, add final touches before we had two must do REG again. So in this video, we'll be focusing on adding Audi Q7. The melodies are important, but we're going to use it as an effect on these vocals and also add reverbs on drums and vocals to make them makes interesting and exciting. All right, so let's play the game. I went to focus on my drums twist. So I'm going to create an AUX channel in FL Studio. You just take any China and turn it into an ox. So I'm gonna say this is my reverb and this is my delay. Okay? This is going to be my delay, right? Cool. Okay. Switch these on, makes them out, mix them out. So what I'm going to do, I'm going to send a little bit off the signal to the reverb or delay to add that If it to the sound. So for the drums, I'm going to use the same revamp. And for the Volcker's, I'm going to use a different reverb. So when revered for my drums and one rivet, if it for my vote goes. So let's edit receivable. We, let's use the fruity reverbs. Fruit to revamp, too. Great. Cool. So how we create an AUX channel in FL Studio basic idea, you just select the empty China, namely to revamp, put the effect over the syllabus. As you can see, these ROE just going to left-click. Okay? So down means I'm not sending any signal to this channel. The more push it up, the more Ed signal to it. Okay, so let's play. Yeah, that's a lot of reverb. Again. So I have my clean signal going into the mixer, and I have another signal going into my OCS channel. But I'm using this channel as a sandbox China. So it's just for the effect that Let's go to my reverb settings. Set the wet all the way up, all the way up. The decay. These are drums. I just wanted to be 1 second. And again, the base space, which is the size of the room. The dk, Let's push it up to 20 seconds. Okay? So DK is more like a sustain when you're playing a keyboard, It's that tail of the sun heats. Okay, So play. So let's say, let's push up the decay. Pull it back. Two seconds, display. So this is where you determine how much you want to send to the reverb. Okay. Some our own 15's fine for listener. Select the hi-hat. I wanted to add reverb to my high it also. So I'm going to select it over this arrow. Left-click tended to do for this one. And my Tom also, same deal to say 75. Crash six also. Okay, So let me mute this reverb. With the reverb, you can hear that the drums they saw and more leg via in a big room. And the reverb is adding more depth to the drums. In a way. Yeah. Great. Let's add the kid know when Endrew F to the 60k, with just the reverb that drums saw. And one way nicer. Okay, so we have this folk effects. Let's add a reverb to it also won a lot Urban this way. Sounds dope. Also want to add a delay on that vote if it so I'm gonna go to my delay. Ox China selected do bank. Okay, I'm going to sit the time for him put food you I'm just a little bit cool. So let's send it. Remember, select the China, go to the ox, over the arrow. Left-click, tented down. Let's add That sounds do. Let's push up the input volume just a little bit. That's dope. Yeah. Well, okay, let's add the piano. No need. No need. You just listen and add and effect only if it's sensory. Okay. Yeah, I'll into play without to know if it's MIT. It's just meet the China's down, data down. Sounds clear. You can hear all the sounds but it's fled. Let's add the reverb and delay. That driven editing room emulation ed space. That makes sounds way more exciting. I guess. So let's go to more Volcker's damn Datadog. Okay, cool. So let me create another box, say reverb. Evokes for Volcker's. For vocals. Delay for vocals. To focus. Great. Perfect. Okay. So I'm going to add to mix it out. Set it to two seconds. Size of the room. Just TO bit turned on the beach. Just a little bit. Low cut. Great. Let's solo the vocals, no, shouting call. Asked me Why are, you know myself. Daddy got to ask me. Let's add some reverb to these shouting call. Asked me why I've been working on myself. Shoddy got asked me, Well, okay, let's chop off the base from the Volga River app. So these are EQ settings, high cut. This is a low pass filter, remember? So we're chopping off the high frequencies. The local knob is a high pass filter. So we're letting the high frequencies pass and a tripling of the low frequencies, as you can see, a low cut from Shh, Let us say one 65 shouting call asked me, Well, I don't want to load a flow N or my reverb. Sharding call asked me why I've been myself. Shoddy. Got to ask me we are big in all myself. Go shouting, call asked me why I've been working on myself. Johnny caught asked me to the visit is fine. I'm going to do the same thing for the verses 20 percent. I will adjust when I get the if a fire like the same amount doesn't apply. Okay. 2010 it down to 20. Create the bridge. 20 here. Suites come with great. So on the whole, I'm also going to add a delay. Shutting call. Asked me, Well, okay, let's first add a delay to AUX china. Going to use the waves. Which delay? For this one? This is the wave age delay shutting call. Asked me what, great, we're going to use this delay. One thing you're going to notice with this delay, these and low white nose if it, which is an analog effect. So it's emulating analogue delay care, so this is the knob. So switch it off to remove that white noise. Okay, great. So that BPM is 100 and the PBM is a 100 over year. So this is why it's very important to set your PPM before mixing so that you delay and reverb on point does play a shot in color. It's just pull back the feedback, which is 20, said my reverb to a quantity lay hypothesis, which was chopping off the low end. I'm just going to go with 100 for now. Okay, Let's send signals so that you can hear what I'm doing. Okay. Send shouting. Call, asked me why I've been I've been working on myself. Sharding call asked me why I've been I've been myself. She won't probably asked me who I am when I began working with the best. I hardly ever rest. I worry about the best I gained in naive baby AFL, fool you, think, do you? And so we're using the verb to emulate Rome and to add more depth to the South. Obviously on Volcker's more presence sounds more exciting. And it takes up more space in the mix without widening stereo field of the Volcker or using a stereo wide now on the Volker. Okay, let's play shutting colleague. The delay is to fill in the gaps in between the takes us shutting call. Asked me why I've been I've been working on myself. Charlene colleagues, me, We are big. So let's play the instruments and mute. Abby. Abby, he has me who hardly ever read. I think. If it So backing vocals. You did it. So let's play. I've been working on myself. Shannon colleagues, me way up at the wagon almost as me who hardly ever rest. Let's listen from the intro. Okay. Okay, let's add compressor. The compressor only use in the main vocal. Slowed the comparison. You food. And we'll adjust from there. I will put the volume up and sit. Now. Let's add reverb to it. Oh, we owe our delay. Output the volume of nine SBI lab. Okay, let's add reverb to this phone. You fit. 12 is the drum reverb and is one hour. Put the volume up. So now we're going to play the song and make adjustments. As we go. I'll put the volume of a bandwagon all my cells. Sciatica asked me, where are the wagon on a cell. Has me on a wagon where the best. Hardly ever rest. Nice baby. Before you think away from you who have been in the market that need from our connect the blue baby yeah, beyond. But maybe in the app, the owner are really don't allow you to that level. I mean, a possession. It might be good. If I told you it, then people leave it. There. I'm confused. You don't want to lose. I'm showing this. So just let him maybe some delayed beyond what may be in the I'm the owner are believed on ABR beyond. But maybe in the abdomen. Some feedback. Feedback is more like dk. So it's more like the tail of the reverb. How much you want or let's say the baby yeah, beyond but maybe in the abdomen into Abilene. But that never assume. It might be to inform how you lonely. I told you. Then people unable to let him confuse you guys for must say, male mammals like us and then my colleagues who have been working on myself. Devellis datasets. If you know. The a 11. Autotune: Now that makes sounds cone sees tune to what I'm going to do now is to add or acute effect. And then we prepare for western. Okay. Let's go I'm going to solo this shouting call asked me why I've been working on myself. Great stuff. All right. You're good. Yep. Sharp. So I already know the song is C minor. Occur. Let's say you don't know the key in the scale. You can use a software called key finder. Finder. Okay. Maybe I want to show you the website. Open it using Google Chrome. So we're going to use a software called key finder. You drag and drop the bid. You run batch analysis, then it will show you the key and the scale. This is the website Ibrahim. Shot. Don't see Oh don't you. K That is the website to download. Okay. Great stuff. So I'm going to sit the oracular C minor, which is the key of the song. I'm going to set the input type to show me. Okay. Sharding continues soprano, but for this guy's vocal, these some low end to its ongoing to use low made. It's not true. So when a professor sharding call asked me we are. Okay, Let's go crazy. The retune speed is the amount of order q and you want to apply. So for 100, which is high retune speed, that is no audit unit 0, 0, that's heavier molecule again. So let's go shouting call asked me Why are, you know, myself. So this is more like beach correction if it in a way. So I want to push it up. I wanted to be the first effect because it matters. Which if it follows the other, if, if, for example, the EQ, I use the EQ for us to clean up any unnecessary noise and boost any frequencies that need a boost in the thenar, edit compression to highlight and give more energy to the Volcker. But I don't want to bring up unnecessary noises. That's why I started with the EQ and then I edited a DSA after the E2, which is to soften the S is after the compression. Great. So this is the oracular shouting call. Asked me where I've been I've been working on muzzle. Great. Let's try that. I don't want these to be super robotic. Let's play. Sharding call asked me why I've been I've been working on myself, shot in color as me we are, you know, myself without the oracular shouting call, asked me why I've been working on myself. With the origin. Shouting call, ask me where are big muscles? There's not much difference because I don't want this photo to some robotic, there's nothing wrong with that, but this Volcker doesn't require that much Audi Q7. So third direction speed is fine for me. The key is see, the scale is minor, low male. Okay, let's play. Sharding call asked me we are bit about myself. I'm gonna do the same. The, or my harmonics shouting call asked me where our great, great, great stuff or occured. Okay. I'm going to save this preset aware. Or to C minor. Great. So let's add an acumen and there's harmonics also. Write you an E of X. All right, here in your effects. Shouting call asked me, go to settings and load the priesthood. Minor, check it out. Boom, same settings. Or occured year fits. So load to stop. Bot. Same. So tunes that. Scroll up over over the plugin, scroll up to move it up and down. Okay. Send him over the years and in over a year or a cure. Let's note. Just stop. Boom. Same 78s. First plug-in. Okay. Bridge because bridge, bridge and this bridge also. Bom, bom, bom, bom, bom, bom. To stop. C-minor. Push it up. Cron stuff. Let's play the vocal. Shouting call. Ask me why are you not myself? Shiny got to ask yourself. Or you want to do here this ridge, the tally your baby from is from a male mammal. Me, these naught is like us and men. I've been working on myself as me who I am. Because as a group, you don't want to 10 each one because you feel like they're more balance with the backing of the hook and everything. So you can just press Control, select everything, press Shift, and just hold one feeder, push it up, it pushes everything, the same settings. Push it down, push it every day with the same settings. Okay. Our connect the blue baby. But maybe are beyond a job. But that never made it easy. You look at the muster. Select the loudest part, which is the hook. Again. Let's play. So my mix heats around minus five, minus four, minus six dB's, which is enough headroom for the mastering engineer, which is u in this case. So before we send things, Tool muster and we have to make sure that we have enough head. That's enough headroom for the mastering engineer to live, mix up and turn it into a mustard. More fit, more loud, more energetic sum, so that it can compete with other commercial trucks get. So let's play again. So now we have a mix. Let's play that one more time then we export the mix. Doubt this is mixing. The next video, we will focus on mustering, getting the summer AD and exporting the final file, which is empathy and wave fight. So in mixing, who would blend different kinds of instruments to make one stereo output trick that sounds dope and mustering would take one stereo output check, which is the mixdown, must-have it and make sure it sounds loud in poetry, this is mixing. A lot of people always confuse mixing and mastering because we always see missing. I muster no mixing. Is mixing. Be scared with blending. They want everything to work together and then mustering the last stage. So let's play the song One last time. May control all the levels. Everything is balanced and then we export the mixdown. I'll put the volume of ship has been shot and colleagues new app. We want a bandwagon with the best Ali ever rest away from your mass, bends back me up, connect the caps. Maybe beyond, but maybe in the more beyond that. But that never make it. No. It might be too high. Then people name I'm confused. You don't want to lose you. I'm showing this. So it's telling you baby from partners for must say male mammal, mama, me, use a gain on is like us and men shot and I'm sure you viewed, well as bears. We can use maybe some molecule in there. Okay. So auto cure load, you're pretty sit well. Great. Maybe Nice, nice, nice, nice. Maybe in the more of the owner. Are really careless. Listen to me from my connect the blogs. Cares. Maybe beyond, but maybe in the more of the owner. But that never make itself. I mean, the position of it might be I told you. Then people in the South and dope on the vase. Let's listen to the bridge. They telling you. Baby, from pons for must say mammal, model maybe like yours. Ask me why. Johnny caught it has mu out bad at bandwagon on the cell. Body is made along the way the best. Hardly ever rest. Thank you. And away from your mom. God is almost never listened to me. And tell me if I let Abby arrests, made me fault them for more frustration. You've been drinking, you'll be thinking, come mainly, get the foci get the money. If you know you. And I want that. But I don't. Time is money. Baby from ponds, from a mammal mommy. Baby from ponds from must say, may own mammal mom, me. Now we have a mix. So there's different ways to do this on every software, okay? But AQ rules, compression rules is the same rules that apply gay, the only different thing is, and that first studio, we are using steroids if they don't have like mono signals yet, all that good stuff. So I'm using our rock stereo, but if you in Pro Tools obvious, you recorded your vocals in mano. Ok, so you go into your eye or Vaux mono. Thus the difference add in Pro Tools for the oxygens you know, going to use just any China. You will to add an ox channel, that is a stereo channel, but it is an oxygen analysts know just any other China. That is the only difference. But everything I'm explaining year, you can basically applied on a RE DO, which is a digital audio workstation. Okay, so I'm happy with this mix. It all depends on you and your style of mixing. Me. I like my Volcker's more present, more dominant in the mix, like these ones. So I'm happy with this mix. So what we're going to do now, I'm going to select damned at, at Boom. Okay, great stuff. And to leave some space, or you say line, great job with the volume of it. Now I'm going to export a viz, go to Export mix dough. Say hardwork. Mix down 100 BPM, CM, which is C-minor. Great. So we're going to export. Make sure it's 24-bit. Wav file. Disabled, split, mix it track. We don't want to export separates now we only want one WAV file. Okay, great. Then looking girls on selection, bom, bom, bom, bom, bom. Rates. Don't forget. Let's start rendering the mixed out stat. And that's it for this video. See you in the next video where we will be focusing on mastering and rendering our final master. 12. Mastering: Welcome back guys. In this video we're going to focus on mastering. So we have a mixdown. Give us things first. Let's set it to the songs BPM. For easy navigation. This way, like in sport, the whole of the vertices. We're going to focus on the loudest part, which is the hook. Let's play shoddy. Call me we are a long way. So the mix sounds dope and what we're doing in mastering, we're making fine, tiny adjustments to make the song sound louder and more competitive. So what I'm going to do now I'll be using different plugins for different purposes. Gear, wheel and just drop one plug-in creating the volume up and you have a dopamine does not. I would work together. So the first plugin, I'm going to use ease and EQ. When I'm mustering. I like to use the T-Rex classic EQ, but you can use any EQ, including the parametric EQ. Okay? So this is the classic EQ. Yeah, So with this EQ, I'm only going to remove some of the low end. I'm going to enable Low Cut and drop-off 20 heads. So this is a low-end frequency. You weren't even pick up by ear. But when you're playing your song on bigger systems, it will create some tuple rumble, So we don't want that, which is going to chop off twin T heads. Okay, for safety. That's all I'm going to use that plug-in full gear. So the next plugin, I'm going to okay, let me first show you the difference. Let's disable the classic EQ. Let's enable it. Shoddy. To be honest, there's not much difference, but it's there. It's there. Okay, so the second plugin will be a compressor just to tighten up of the mix again. So we have everything in one file now. So we want to tighten the mix, bring it up front, and make it more consistent again. So we're going to play shoddy column dope. Let's enable the classic compressor. You can use any tab or compressor. As you can see, that Cheerios one also has the release time. Again in puede ratio. Again. Great. So this is the output gain, which is the makeup gain. Okay, great. So what I'm going to do first, I'm going to look for precise it. That's a classic muster and press it. And then I'm going to make adjustments from those preset settings. Okay? That's player shot in color. Unless we get, so the input drive kinds of represent the thresh hold on the compressor you're familiar with. Okay? So the more push up the input gain, the more signal in to the compressor. Okay, let's ask me Lambda. So minus 20 dB, 23 dB of compression is decent. Shot in class 18 milliseconds of time the release. Let's pull it back, Let's pull it back. Let's play. I've been working on myself. Charlene kinase me out at the wagon on a staff decided she on Friday as me long where a beer wagon with the best hardly ever read a way like a bell. Bell curve. Okay, thank you. So this level meter shows you a whole fast or slow. The Congress are, Let's go. Okay. Shutting colleagues knew our beat up being login on myself. Shiny gonads, me laugh at the wagon on the South. She on Friday as me the wrong way. Again, whether bet. Hardly ever read a way light a bad Naive Bayes. Then you, away from your school, had been in New Paltz. Is that the ratio of two to one is fine. So let's switch off the compressor. Sharding colleagues knew our switch it on. Shutting colleagues knew our bid up being wagon on myself. Let's push it Burke. That to milliseconds. Sharding colleagues knew our Abby and login on myself. Charlene colonnades meal out at the way in on a style sheet on Friday as me, the one where I began working with a bet. Hardly ever rest. Nice Baby Bell for your us. Away from you. Been in New Paltz. Dad. Dad must believe that me from my sciatica as new app. So remember this is mustering. We don't wanna go too crazy with just one plugin when it comes to volume was still need headroom for either plug-ins. Okay. So I want to show you the difference between the waves before the compressor and after the compression. Okay. So I'm just going to Rwanda. That's disregarded. Render to waive. Want to show you something real quick. Great stuff. Okay. So check this out. So this is the mixed though, the original mixed on phi. This is after compression. Okay? Sounds more fed, more consistent. Okay, great. I just wanted to show you that image. Let's go back. Listen to it. I myself, shiny colonnades meal out. So the more increase the input drive, that's me pulling down the threshold to let in more of the signal to the compressor. Okay, shutting colleagues knew our being and being login on myself. Shiny Clidastes me lay out the realists. Let's make it a bit slow. Run for four to six. Let's play again. Shoddy colleagues new out there. I've been working on myself. Shiny cloud as mu out there at the wagon on a style sheet on Friday as me Zhuang, where a beer wagon with it. I hardly ever read. I worry about a best baby. Bellcore you. Then do you away from your been in New Paltz, Darwin madness is that girls are more the compressor. Shoddy colleagues knew our being with the compressor shutting colleagues knew our B cells more present, more in your face and more patchy, more effect again. So the next plugin, I'm going to add ies stereo image, but a multi-band which is acquired E major. Again, I'm going to use one by T-rex also care. So what I wanna do we, I just want to widen my vocals, which is the mid-range and a little bit of the top end. We're all one to widen the low end, which is the key good base, wouldn't want to mess with those, get. So let's play. This is a mid-range. Let's widen it to be SHE. Okay. We'll just wait in that range. 26. Yeah, great. Now I would be doing the widening. Alright, cool. Listen to this shot in color. So it's off, switch it on. Okay, now we'll be doing the widening, just a mid-range shot in color. As me, you can hear the difference. A has got no more mid-range and Volcker's are taking more space, more stereo field. So I'm just going to boost, should be. Okay, let's play. Let's do the same thing on the top and just a little bit some like this. Shutting colleagues new API. Api working on myself, shiny gonads, me laughing at the wagon on a cell body. It means long way. Be working with a bank. Hardly ever rest. Let's switch it off. Shutting out to be working on this shot incarnates me, switch it on. Shouting colleagues knew out to be working on myself. Shiny bananas me laughing at the wagon, honest tell you on Friday as me the wrong way. I'll be working with a bank. Hardly ever read a way. So the mix no souls more wide. But that's why I use E major instead of foreign plugin that just widens the old. Okay, That's all. Great. Let's play. Shouting colleagues knew out to be working on as shiny colonnades, me laughing at the wagon, honest tell you on Friday, It's me along the way. Great stuff on it, the coupon, this one. Okay. Now it's time to add a limiter. A limiter, which is the final step. So this is my master and process. These no rules to this. You can always come up with your own ways. So I will be using the waves L2 ultra maximizer get. So let's set the beads to the bit rate to 16 bits. From 24 to 16 bits, this is mustering, so we'll export it to Emperor Jue fly or a WAV file. But what all went like supernovae fight because it's for listening and play bec from here. Great. So what we're going to use the trash whole to apply them maximizer. And this ceiling to make sure that it doesn't cross 0. D Bs get everything that goes above 0, dots distortion. That's messing up your signal. Okay? So let's play along. My baby I felt for you. Then to us away from you who have been in New Paltz. Darwin madness to get started on landmark buildings brought me from my shutting colleagues knew our girls at the selling tools minus 0. When shutting colleagues knew out again on myself, Charlene kinase me, laugh at the wagon, honest, tell me the one where we're going with it. Hardly ever read about a bad thing to you and away from you who have been in New Paltz, Darwin madness to get that on landmark buildings. Got me from my. So let's play the mix without them. If it's sharding. If it's shutting me. So I'm sure you can notice that we didn't make major changes to the song, but it sounds powerful, it sounds consistent, it sounds professional, it sounds punchy. That's why we're using different plugins for different purposes instead of just cranking up the volume. Okay, So this is the process of blustering and you can be creative and come up with your own ways. You can use different plug-ins obviously. But this is my process for mastering, is so, okay, so let's break it down one by one. So the first plugin we added was an EQ just to remove the 20 heads, which is the loa loa loa loa loa loa frequency. You won't even pick up. Okay. So let's play with that and add one by one because I want to hear the impact. Get me wrong way. Hardly ever read there's a y. In other words, again, the bell for you. Then do you away from your mean? Is that on the left must be shouting colleagues, new app. I've been working on myself. Shiny color has mu out at the wagon on ourselves. She on Friday as me who I am where a beer wagon with it hardly ever rest. Away about a bear. Maybe a belt or your ankle, you and away from your mean? Is that our landmass is that me from my pieces are connect the plugs, then collect the cash. And that's how you muster. So mortgage. So I want to show you something. Yeah. Okay. Let's render this to a wave. I want you to see that difference in wave form. All right, check this out, check this out. Check this out. Check this out. So this is the mixdown. Boom. And this is a mustard file. Okay. Check this out. Huge difference. This is the mixdown and this is the master. It's tied, heavy leads loud, it's competitive just by the look of a waves of gear. And this is how you mix and master your songs, are hope you got some value out of this course. One more thing I want you guys to make a habit of, but for now we'll want you to focus on mustering the technique, using the techniques on your songs. And then at a later stage, that's when you will use either song was to compare two foot direction because you don't want you seems to be louder than commercial songs. Okay? So when I'm mixing like client work, always have a reference song. A song with the similar Tapestry. Tapestry sound and use that song as a reference during mixing and mastering, making sure that I'm not messing up making crazy loud song. Okay, so that's the whole purpose of referencing. But for now, I want you to focus on mastering the technique. And then you can use referencing, which is comparing and using other people's songs as a guidance. Again, my name is Sabina of sexual bit September. Thank you very much for purchasing the course. And I'm out. 13. Export Settings: If you are happy with your mastering now it's time to export. Let's go ahead and hit File. Follow my cursor, go to File, Export. You can decide if you want to export a wav file or an MP3 file. In this case it's a master track. I will just hit MP3 file. Here. I would write mustard. Obviously this is where you would write his name, song name for use by all the song information. And hit Save. Looking at the bid rate, its own 190 to set it to max, want the max and petri quality possible, make sure its own stereo. The resampling. I like to select 64 because mass system can handle it. If your computer is not that powerful steel, you can get away with 32 on resampling A24 plug-ins. Make sure Split mixer tracks is not enabled. And it will insert if works, that makes sure all the effects are enabled, Enable master effects. All right, trim B2C silos. Let's hit Cut remainder and you just hit stat. And then you, Dan. Thank you very much. Bye-bye. 14. Welcome to the Stock Plugins Module: Welcome to the mixing in FL Studio using stock plug in class. My name is Sabella September, and I'm a music producer, mix engineer, and coin creator. I've been making music for close to a decade now. I've produced tracks featured Netflix, SABC. I've created this class for beginss, that's why I will only be using stock plug ins. This is version two point oh. I've broken the course down into different classes so that it's easy for you to follow along. In this class, we're going to be focusing on the foundation stage of the mixing process. This is will be organizing, showing you how to export stereopils, monoples, creating balance, applying penning and leveling, so that when we get to the plug in section, everything looks clean and it's easy to listen to Okay. So if you're ready to improve your mixing or learn how to use stock plug ins to get pro sounding mixes, I will see you in the first lecture. 15. Project Resources: Welcome. Before we get started, I want to walk you through the project resources. Here, you can see these hard work files. I've written the song key for you, which is C minor and the BPM, which is 100 bits per minute. Double click, you're going to use Winra to open this file. And when you're done, extracting the file, here you have instrumental stems. These are the bit stems, okay? And then you have a second folder, which is vocal stems. That is your vocal stems separately. I exported these vocals separately because I wanted to export in mono when I was exporting the vocals, and I exported the bed stem separately because I wanted to export them as stereople. So in the next lecture, I'm going to show you how to properly export monostems and stereostem so that everything is organized. You monoples are monoples, your stereoples are stereophles. See you in the next lecture. 16. Export Mono & Stereo Wav in FL: Welcome back. In this lecture, I'm going to show you how to export stereo and monostems in AOL Studio. We're going to start with the beat project. Why are we exporting wave stems instead of mixing everything right here on this bit project? We want to save CPU power. So we don't want our system to be handling visual instruments like purity, nexus, at the same time, while trying to handle the demand from mixing plugins. Make sense. Let's get to it. Hit the select over here, follow my mouse. Okay, highlight it. And then from one to something like 59 58. Great. Let's play. Okay. Right at 2 minutes. Then we have some space. That's perfect. The second thing we're going to make sure that is on point is our mixer, okay? So right here, as you can see already mixed out all the tracks. You select out or command on a MC If the volume is like this or the level is like this, you just select out. Left click on it, it goes to default. Left click on it, it goes to default, makes everything out. We make sure there are no plugins on the master track. For example, if there was a plug in here, this was going to be on like this. You just click on it to disable the effects instead of removing everything, okay? Just in case there were effects. Now, everything is mixed out. There are no effects. All the tracks are assigned to separate mixer tracks. Beautiful. So what we're going to do now, we're going to go to File, select Export and select Wave file. After selecting Wave file, we're going to select a folder, maybe create a new folder for these bit stems like we did right here. Instead of hard work, I'm just going to say H W and hit save, okay? The minute I hit save, this is going to pop up. On the mode, you can say song selection. It's perfect. On the tail, we say cut remainder. We already left enough space. Right here, you're going to select Wave fle. You set it to 24 bit. Make sure it's stereo. The quality resampling, we're going to set it to I'll say 64 point, which is high quality. It's low to export. Resembling HQ for all plugins, but I don't have any plug ins. That doesn't matter in this case, okay? I like to save playlist markers, even though I don't have markers on this project, okay? And this is very important. Enable split mixer tracks. Enabling this, make sure that you export separate tracks as individual tracks, okay? Save tempo information. I like to enable that also, and we select start. Now let's go to the vocal project. So this is the vocal project, loading, loading, loading, loading. So this time, what we're going to do, I'm just going to say New folder. Let's do HW again. HW Okay, and save to new folder, for example, and then we hit Save. The only thing we're going to change this time is from stereo right here. Two mono. Don't say mono left only or mono right only unless that's what you need to do, but we're going to select Mono merged. Okay, we want to make sure these way files are printed as mono file so that when you import it to digital audio workstations, like your pro tools, your logic, they appear and perform as monople. Split mixer tracks, everything's perfect. We're going to select Start. Boom. We're done just like that. Another thing you're going to see when you export your stems. For example, you're going to notice that there are some files you don't need. Just to clean up your stem folder, you're going to make sure you double check those stems before you send them to a mixing engineer or before you start working with them. For example, FA Studio will export a file like current, which is the selected trek during that export session. You're going to delete that. There was also a master I deleted that let's go to the instrumental tracks H current also, delete it. Okay? We have sub shaker, piano, master. Okay? Let's delete that master one. Now it's only stems. Everything is organized. So in the next lecture, we're going to start importing and organizing our projects so that we have a workflow that goes smooth. I'm super excited, see you in the next lecture. 17. Navigation: Welcome back. In this lecture, we're going to start doing housekeeping, okay? We'll be importing our wave stems, as you have seen in the resource section, everything is organized for you. Please, before you continue, download those files because I want you to follow along, experience the process so that you get the best out of this court, okay? We're going to first set up our effort studio the way we prefer, okay? First thing you're going to say is that there's already default tracks go to but, as you can see over here, when you say new from template, you can see on minimal that there is an empty with four SNS project, okay? That is the project we're going to go with. We're going to click empty with four SIs. As you can see, there's nothing on the step sequencer. When you open the mixer here, you can see that there is nothing except these separated one, two, three, four designated empty centric, so that we don't have to create centric ourselves. So before we go deep, I just want to quickly show you the navigation of efforts to do just in case you brand new to the software, okay? Over here, you can see this is your menu panel on the left top side of FL Studio. Right here, you can see, there is a file. This is where we can export our wave files, all that good stuff. And we have import. This is where we can import Mdifles. Let's say you downloaded Medipac from someone and you want to use it in FL Studio. You can import that Midi file using Import. Here, the Save. You can save your project either as a FLP which is default or a zip song file, which is the one I always use because it saves everything in that one file, okay? Even if you're opening FO studio in a different studio, you can still access all the wave files you used in that project, okay? So that is save for save your project, and that is the quick save, which is controls at the top of save a that's the one you're going to use. While you're working, you just Control or Command S to quickly say while you're working through your projects, okay? Right here, you can see that's new basic 808 limiter. That is the default template you see when you open EL Studio. To change this, we're going to go to options Roll quick, and we're going to go to general, the bottom right here. You can see Ma cursor here. It says default template. It's basic eight oh eight with Limiter, okay? For people who are always making bets in FL Studio, I'll say this is fine to have it as a default, but I like to have the empty wood sends default so that when I open FOL studio next time, I don't have to go through the opening and changing the template, okay? So I'm going to select empty with $0.04 as a default template, right? Startup project. I can say default project, which is this default template, okay? That is perfect. And now when you select file, it says new, it's empty with $0.04. That's the default one, right? Here, you have revert to backup just in case the power just went off for us. For example, here in essay, we have a thing called load shading where the power just disappears on you. You can open EL studio and click Revert to last backup. That way you can have a chance of recovering your project. Right next to file, we have cut and a copy. Cut and copy is simple. You're just going to use that to cut and paste patterns and everything in EFL Studio. And here we have Ed. This is where we can import visual instruments, all that good stuff like your Nexus, your DDR, as you can see over here, that's where you add plug ins. And patterns, this is where you can do adjustments to your patterns. And here we have view. This is where you can decide if you want to see the piano roll. Select piano roll. Select piano roll. Let's go. All right. Select the playlist. This is the playlist. Okay, now it's going. We only see the step sequencer. This is channel Rec, which is a step sequencer. Click on it. It's gone. Enable it. It's back. And you can also do the same thing over here. You can see this view playlist, view piano. This is the browser. So right here, you can disable it for more space. Let's say you're working on a mix, enable it if you're going to need it, right? And that is how you navigate around FL Studio. I just want to make sure that we are on the same page, okay? In the next lecture, we are really going to start importing the files, okay? See you in the next one. 18. Import & Organize Stems, Create Bus Tracks: Welcome back. In this lecture, we're going to start importing and organizing our Stem files. Let's go and open the playlist first. Follow Macarsa right here. We're going to select view playlist. Remember, there's also a hint panel that tells you what's what. So you just hover over it and you can see that is your view playlist. Click View playlist. So what are we going to do now, we're going to bring in our browser window with our stems, okay? So we're going to open the instrumental stems. Please follow along with this, right? So I'm going to highlight all of these, okay? Drag. And drop to the first track. It's going to ask you, do you want to create audio clips or audio tracks or instrument tracks from these stems, okay? I want to create audio tracks. Select audio tracks. All right. Now let's switch it from Patin over here, right next to the play button from Pertin to Song mode, okay? Let's play. This is the piano on its separate track. The bells on its separate track. So before we even import the vocals, let's color code these bit stems first, and then we add more files. Here you can say there's kick. Then right next to kick, there's a piano. We don't want that. To move things left and right in the mixer, you can just select the track, hold out or command, use the keyboard arrow. Okay, push it to the right if you want to move the track to the right. Okay, great. Here, you can see there is H input, which is a input channel track. We forgot to delete that one, go back to the playlist, select Track four, delete it. It's gone now. Even from the mixer, it's gone. Let's select from 0.9 where the book starts. Sub base, we want to move it to the right also. Hold Alt or command on a mac and push it to the right. Here's another instrument Helix pad Alt command, move it to the right. Okay, you just hold Alt left, right, to move it across the mixer, okay? The piano, move it to the right right after this piano. Okay, the clap snare. Move it right next to the kick at the top, right next to the snare, the high heads. Right next to the tom, right? The vox effects, it can be right next to the base is fine. The bells right after the piano. All right. What I'm going to do now, I'm going to go to track 14, which is an empty track, hold out again, move it to the left right in between the vox effects and sub base, it doesn't matter. Maybe it's going to be Shaker or new, whichever arrangement you prefer, okay? I'm going to right click on this and I'm going to say Tram buzz or I can say drums. Okay? So let me just say drum, buzz, rename again. Let's change the color and make it a darker blue. Okay, hit Enter. Great. So why are we doing this? This track is going to be a drum ox, buzz track. We're going to use it as that one trick that can influence all the tracks. Let's say we want to do some cool automation and just drop an EQ cut off the top end while the song is playing, we can use this track to filter all the drums at the same time. Going to go to the kick track, select kick Track, hold control, and drag till the voxeffects we've selected all the drum tracks. And then without touching anything, let's go to our mouse pad and go to this arrow on the new track we just created, and right click here, there's a root to this track. And root to this track only, okay? We want the drums to go to this track, and this track sends the signal to the master. So if we select root to this track, it's going to send a signal to this track and send signal to the master. So we're going to have a messed up signal, a double signal in a way. So we're going to select root to this track only. Okay? Root to the Strack only. Great staff. Let's rename it. I don't know what happened. The name is gone. Drum bass a game, enter. Now, let's play the drums. Okay, to mute the drums, I can just mute this track. All the drums are gone. Alright, let's color code the drums also. Hold control drag. Right, click, change color, color close to that Ox track. Boom, now we go to the instrument tracks, the sub base, the pads, the piano and everything, and we do the same thing to them. We can do this in reverse because I want you to be open minded when you're going through the course. My preference is always keep an open mind. You can't be limited to doing something only one way, you know? So for flexibility, let's go and select all these tracks. Control, select all these tracks. Let's change color first. Let's make these instruments pink. And while they are selected, we're going to right click this empty track right next to it. Right, click on the arrow. Don't click on that track. Just right click on this arrow right here. Root to the track only. Boom. Alright, now we rename that track. We say music. Bz. When you say it's a buzz track, everything that's inside the bus is affected by whatever happens to the bus. So think about it that way, right? So we're going to make it color close to that pink lister, something like pale, violet, red. To simplify it, visually, what we're going to do next, we're going to right click on this track and select separator. There's a clear line between the instruments and this track. We go to the Tram bus also. We select separator. Great stuff. Now let's play. This is how things are in the playlist, okay, but don't worry about it. Let's focus on the mixer now. Right? So this is a music bus, but it's not that clear in color, okay. Let's switch it up again and make it maybe gentle. Okay. Beautiful, beautiful. I like it. Let's separate the drum bass with the instruments, okay and create a line here when right click on the sub base, the track right next to that bus and hit a separator and hit a separator to this track that's right next to the music bus. One thing you shouldn't follow in this lecture. Don't go through all these steps without saving, okay? Let's location to save this project. We're gonna say save, and we say mixing. With stock. Plug ins. FL COS, mixing with stock plug ins, FL COS. That's our project. Let's switch it from FL Studio song file to zip song file. It safe. It's loading now. I don't want this lecture to be super long, okay? So the next lecture will be part two of this where we importing and organizing the vocal tricks. See you in the next lecture. 19. Organize Vox Stems: Welcome back. Now it's time to import the vocal tracks. So we're going to go to our playlist, zoom out a little bit. Now we'll go to the vocal stems, okay? We're just going to drag this and drop to track 14. Do you want to create all your clips to test your knowledge? Which one are you going to select and for what reason? You do do d, d, da, da, da. We're going to select the audio tracks. We want to create audio tracks because we want to import the files to the playlist, at the very same time automatically assign those tracks to single mixer tracks. Now we got the vocals in the mix. We're gonna start with creating a buzz track, okay? We're gonna say, this is a vocal buzz for the vocals, let's use a bright color, okay? Because the vocals are the star of the show. We're gonna select yellow. Ah, now I don't know colors. What is yellow now? Alright, let's select Let's do olive. I don't like olive. It's not bright enough for my vocals. Let's select forest green and hit Accept. Let's hit separator. Right, click. Why are we hitting separator? We click separator here to create a line clear line that this is a buzz track. The track right next to it, separate. Now we have separators in between. As you can see here, these are tracks, these are bus tracks. It's easy to see. That is the beauty of organizing your work. Next thing we're going to do, we're going to select this track, the first track, select controls, we hover over this arrow of the vocal bus, we'll right click on it. Root to this track only, not root to this track because that's going to duplicate the signal. It's going to send signal to the master, send signal to this track. That's not what we want right now. Root to the track only. Boom. Beautiful. So here we have the hook, okay, which is the lead track. And we have the verses, the verse harmony, beautiful. Let's select again. Control hold and drag to select. Let's change the color. Let's make it something lighter than forest green. Again, let's change the color. I like things to be super clear when I'm working. Okay? Great. These are vocal tracks. Clearly enough. Let's control to save and save our progress again. Now that we are done importing and organizing our stems, it's time to do some balancing because we want to be able to listen to our mix and make some decent judgments. Take notes and maybe jot down some ideas on how we're going to approach this mix. In order to do that, clearly, we need to balance out the mix, pen some of the tracks left and right because right now, everything is playing right at the center of the mix, so everything's on top of each other, okay? So before adding any plug ins, I want you to adapt this mindset of mixing. Yes, it seems like a waste of time because you're excited. You just want to throw in plugins. Don't fall for that trap. Have a session where you just organize your project, set up everything. Do balancing, set up your levels, pen things left and right, and make sure that you can be able to listen to the mix without any effects. So we done organizing the project now. In the next lecture, we're going to start mixing, just playing around with our feeders. See you in the next lecture. 20. Levels & panning: Welcome back. Now it's time to create some clarity in the mix. Like I said, we don't throw in plug ins before assessing the mix and just listening to the mix well and have an idea on how we're going to approach this mix. I want to introduce you to this technique, okay? Let's select this hook section from nine till 2017. Real quick. Let me show you the tools. This is a snap to grid tool, and that's your pen tool. That's where you can throw automations. But let's go back to the selected tool. We select 9-17, o, and play. Alright, so from now on, I want you to look at pushing down volume and pushing up volume differently. We're going to solo the kick first. We're going to right click on it to solo it, right click again to Dislo it. Let's play. When you're turning down the fader, you are pushing that sound back. The more you push it, the less you hear it because it's far. Then when you turn the fed up, you are bringing it forward. Okay? Let's think about it while I'm doing this. Let's play the kick and push it back, which is turning it down. Push it up. Great. We're talking about a stereo field right now and I want you to say it. We have two speakers, the left and the right. The distance between the left and the right is the stereo field. When we pin a certain instrument to the left, we're moving that sound a bit more to the left speaker. Let's say if you have five instruments playing dead center without being pinned, they are playing and competing for that space, right? But when you pen one to the left and pin another one to the right, now you are creating space, and you are filling up that steel rear field. Now you have a more wide sounding mix, more interesting mix. Let's introduce this nan play. Alright? All right, I'm not going to pen this n. Let's introduce the high heads. All right. As you can see, I exported that with automation for a reason, but I'm going to use to create an example, okay? So let's play and push it to the right. Push it to the left. Now we're moving it Just with those instruments, the mix is sounding a bit more wide now. Let's reset that, and that is how you utilize panning to create space in the mix. The mixing process, we are making space for everyone in the mix, okay? So we're going to start with the drum section. Let's turn down everything, select everything, turn it down, and we're going to introduce the sounds one by one. Let's play. Yes. All right. Great. Run minus nine. This is the R&B hip hop track. Around minus nine, I'll leave it there, so I'll just mix out this kick play. Let's bring in this near. All right, let's bring in more sounds. All right. The high heads around 25 50 decibels. Sounds good. As you can see over here, -21. All right. Let's bring other sounds also. We're just going to do this. Okay? This shaker, let's pan it to the left a little bit. Okay. The tom, let's paint it to the right a little bit, 25%, as you can see the hand panel telling you while you're adjusting. 25. Yes. Let's bring in the base. Enable the music buzz. All right. Won't be painting the base left to right, okay? It's the heart of the track. We don't paint that white, okay? Let's just turn it down a little bit. Turn it down a little bit more. Alright, sounds good to me. Let's bring in the pads. Turn them down. Alright. Right there. 21 debo sounds good to me. Don't worry about the numbers. Make sure it's just listenable to you, okay? It's easy to listen to. Bringing the pianos. Turn it down. Alright, turn the pet down again, bring in more sounds. Alright. Just bringing the vocals. You know, you don't have to be serious about this stage. You're just turning things up. John Call asked me where I've been I been working on myself on myself Johnny ask me right. That's self, yeah, yeah, we're just gonna turn it to the right. Let's do something like 40. Shorty. I don't want it to combat with my lead vocal. Shady Carl asked me where I've been Welfare I've been working on myself on myself, Shay Collin Turn it down a little bit. I've been working. This where I've been. Let's turn it to the left 25. Shady Carl asked me where I've been. We I've been working on myself on myself. Shady Caller asked me where I've been Welfare I've been working on myself myself. She gonna probably ask me who I'm with. I've been what's? I disabled the loop. Shady Carl asked me where I've been. Ask me where I've been. Spin cut. Well, let's turn down this iPhone effect. Net. Let's be way Spin cut. Alright, that's supposed to be right next to the drums. Let's move it. Next to the drums, change the color. Try this one. Alright, great. That's close. Yeah, that's the color. Let's deselect it from it being sent to the strike. We're just going to click on this arrow selected right click Send to drum Bas only, out to the strike only. Select. Beautiful. Let's play. Net Let's beware What's that? What's the Shary Carla asked me where I've been? Well, I've been working on myself on myself. Shary Carla asked me where I've been I've been working on myself myself. She gonna probably ask me who I'm with. I've been working with best? I hardly ever rest. Ever rested? I worry about the best I can't deny, baby. Yeah, I feel for you. I think you never away from you. Abi. So, baby, Abi, A on the is what it is. I really don't know what you thought it is. Bright? Nothing is clipping because there's something we have to make sure that we watch. While we are mixing, we make sure nothing crosses zero DB, okay? Zero DB it's limit. We don't cross that point. When it comes to digital, zero DB it's distortion. The sound doesn't sound clear. So turning things down while we're mixing is very important before adding any plug ins, because now we're listening to a clear track. It's easy to listen to it, okay? Mixing is playing around -60 B now. That's decent. That's fine. Okay? Now we are ready to start processing these sounds and adding effects. Our project is looking good. Everything is organized. We know where to find things. Don't forget to save. We are ready to start doing the foundation mixing, which is taking care of the drum section. That's it for this lecture. I will see you in the foundation building section. 21. Kick & Bass - EQ: Welcome back. In this lecture, we're going to be applying EQ to our kick base. Like I said, we're going to start with the foundation, which is the drum sections. That's your kick, your bass, your drums. Obviously, the bass is an instrument, but it's also part of the low end. It contributes to having that tight low end, okay? So in this lecture, we're going to focus on IQing the kick base. The whole purpose of an EQ, first, let's pull up an EQ. Let's go to the kick track HKIck. To open your effect browser, you just select the instrument you want to add the effect to, follow Macasa you select slot number one, the browser pops up. Here, you can go to filters and select the fruity perimeteQ. We're going to be using the fruity perimeter EQ. Let's select from nine till 25. Open the mixer again, open the EQ. So what I'm going to do now, I'm going to play the track. Hoy colors. As you can see, there is some ways popping up representing the frequency activity happening in this kick track, okay? So the purpose of an EQ as to filter boost and cut frequencies. For example, in this case, we're going to be sweeping around looking for the dominant part of the kick. From the left hand side, you can see it's a sub base that is the low end. This is the mid frequencies, that's where your toms and your vocal play. This is the high meds, the top end, that's where your sharp sounds like your high heads and sharp s of your vocal. So this is the low This is the mid, and this is the top I'm pretty sure you're familiar with those terms. Low mid high. So what we're going to do now, let's play the track. Shorty Call asked me where I've been I've been working on. Right. Right click over here and solo this kick and play. I'm going to use this number two band right here. I'm going to sweep around around 50 to 90. That's where the dominance of the kick is when it comes to tone and try to boost that one until we find a tone that's in sync with the song Key, which is C minor. Let's play the song again. Shorty color ask me where I've been Shorty color ask me. Alright. Hold on to that first note of the kick. Shorty color ask me where? We are going to be focusing on that tone also while trying to boost this kick, okay? Okay. So to boost, you just click with your mouse, hold, and move the bend around. Let's turn down that bend a little bit. For a more accurate level adjustment, let's use these perimeters on the right side here and just pull it down straight like this. For a more accurate adjustment of frequency, I like to use these levels to turn it up and down. Play. Right there 79. One, it's in sync with the song key, and two, that's where the dominant part is of that kick. So I want to boost something like plus four DB, okay? Look at the hint panel here while I'm adjusting, say with four plus DB. Let's play. Yes. Now, let's mute that EQ. Let's enable it. You can see it's kind of punging a bit more, and we only boosted the dominant part of that frequency, okay? Let's play. That was 79 heads. We're going to go to the base, is it? Let's enable this music buzz. All right. I'm going to pull up an EQ, look for that 79 on this base and turn it down just a little bit and do something like minus four d B. The wider it is the more nearby frequencies it affects, the narrower it is, the less nearby frequencies it affects. Okay? Let's just do 10% and play. Right? So we're making sure while the base is doing its thing, it's a bit tamed on that dominant 79 head frequencies of the kick, okay? They are sharing that space, so we want to make sure that they work well together, okay? That is the first adjustment on the kick base part. We're about to do more fancy techniques, but don't worry. I'm going to keep it beginner and very simple, okay? So we applied that technique of an EQ just to boost the kick so that it has more dominance and sharper than the base. And then we dipped the same frequency heads on the base. We can use this switch enable effects. Disable it, disable it on the base. Let's play. Alright, you can hear that the bass is overpowering the kick. Let's enable them. All right. Now you can hear the k that's it for this lecture. In the next lecture, we're going to start applying some saturation to this kick and base see you in the next lecture. 22. Kick & Bass - Saturation: Welcome back. In this lecture, it's time to add some distortion, okay? So basically, a distortion sound, it's the sound you hear when the sound is clipping. But there is a plug in that turns this bad sounding tone to an effect to add more grit and punch to your sound, okay? So what I'm going to do, I'm going to go to my kick track, go to my slot number two and go to distortion category, okay? So if you want to see your plug ins organized like this, you just switch your browser setting to simple, which is the default. Two categories, okay? As you can see here, this is where you can switch it. Switch it to categories, okay? Now it categorizes everything based on groups. Okay, froutb delverbs, controllers. We're going to go to the first distortion. I want to add the distortion to my kick just to make it more grit and punching. Let's play. As you can hear it, it's too much. So, the first thing we're going to do, we're going to turn down the threshold. Let's turn down the threshold to something like 50%. Basically, you learn more about the threshold when we're on the compressor section. What a threshold is, it's the point where the effect starts kicking in, starts being applied to a certain sound, okay? So for example, these waves, if a threshold is set to around this point, anything before that point won't be affected by the distortion, everything after will be affected by the distortion, okay? Set it to, 50% in play. Alright. All right? So the mix, it's the mix between the dry signal, the signal without the effect, and mix it with the effect. Okay? So let's start from zero and play and push it up. Push it up. Push it up again. Turn it down a little bit. 30% sounds good to me. Let's switch it off. Let's turn it on. Okay, let's push up the threshold again. Let's try 60 and play. Yes. Nice. Right, let's turn the mix down to something like 20 and play. Switch it off. Switch the first disk on. All right? Nice. Okay? We don't want to do it too much. As you can hear now without the first distortion, it sounds okay, but with the first distortion, it's more aggressive. It's more powerful. Now let's go to the base track. What I'm going to do with the base, I'm going to add another distortion plug in. I want to add more punch and more weight to this base anyway. So I'm going to go to my slot number two on the base track and bring up fruity blood overdrive. Blood overdrive. It's distortion plug in, okay? So let's disable it, right here. To disable it, you just go to the selector here and disable it like this. Okay? Let's play. Let's disable the kick. Enable blood overdrive. By just enabling the plug in, you can hear that it sounds more fat anyway. That's what we're looking for, okay? So let's use the preamble to to add more griminess or turn it down. Okay? Let's play. Push it up. Mm. Okay, turn it down. Okay. Push it up slowly. That's fine with me. Let's disable it. Enable it. Disable it. Enable it? Wow. Sounds more fat, sounds more punchy. It's taking up more space. Let's play it with the kick. All right. For more screen real estate, let's just disable this browser. We won't be using this. Let's go right here. View browser, plug in PICA, click on it. Let's go. Okay? Let's play. Alright, I want to turn down my kee a little bit. Until it's around minus eight, minus nine for now. Right, nice. Okay. Go easy with that distortion. Let's play. 15%. Yeah, that's fine. I want to turn down my kick. Sorry my base. Let's turn it down. Nice. Alright. Alright. That distortion added a lot of top end to this kick, okay? What a top end is specifically this treble part, okay? Let's play. As you can see, this is a low end sound, but it still has some top mid frequencies for the tone, okay? So what I'm going to do here, I'm going to right click on this seven here and turn this to a low pass filter, okay? Low pass filter basically cuts from the high end side, the treble side to the left hand side. So it lets the low frequencies pass while cutting from the top end side. Let's adjust this number seven, which is our low pass and cut slowly, okay? Let's play. Mm. All right. Let's disable that adjustment. Just go over here. Click on it. It's disabled, right here. Let's play. Okay, let's enable it. It's a bit softer, but I think the filtering was too much. Let's go easy again. Let's go back with the cutting, go easy. Around 8.5, let's play. That sounds good to me, right? That sounds good to me. Okay? Control save. And now we're done with adding saturation to this kick and base, which is our low end. In the next lecture, we're going to start applying side chain technique, okay? See you in the next lecture. 23. Kick & Bass - Side Chain Compression: Welcome back. In this lecture, we're going to start side chaining the kick and bass. What is side chaining? Okay? Let me explain real quick. Side chaining is basically the process of using one signal or instrument to trigger an effect to happen on another track. You will hear an effect. That's like woop, woop, woop, woop, when you're listening to EMM music. That is side chaining. When the kick hits, the bass sound dips in volume and goes back up real quick. One, it gives you a clear two, it gives you a groove, a vibe when it comes to IDM tracks. They even use side chaining on their synthesizer. So what I'm going to do now, I'm going to select the kick track. And right over the sub base track, I'm going to right, click on the arrow. Don't click on anything. Just make sure you have the kick selected. Right click on it. What I'm going to do now, I'm going to say side it chain to this trek. There's a side chain tool here, side chain to this trek, okay? Let's play. As you can hear, nothing's going on. It's not affecting that base track yet. Step number two, we're going to go to the base track now and add. Let's use the fruity limiter, which is a stock plug in. To do this fruity limiter, okay? So what a fruity limiter is, it's a mustering tool that we can use to compress. Limit, makes out the track in the mustering stage. But in this case, we're going to use the compressor too, okay? As you can see, it's on limit, we're going to switch it from limit limit to compressor, okay? Compressor. And what we're going to do next, we're going to go to this side chaining selector here, you can see written side chain. You're going to right click on it. Okay, and select H kick. This only appears here because we did the side chain linking first. That's why you can see H kick. When you right click, the compressor picks it up. The next thing we're going to do, we're going to push up the ratio. The ratio is the amount of compression we're applying. You will learn more about that the more we compress vocals and everything in future. That is the ratio. We're going to push the ratio to something to something like 22, right? The threshold is the point where the effect will start taking place. The more we turn it down, the more it's affecting more of the signal. And the release, let's make it first the release, it's how fast or how slow the effect let's go, which is compression or side chaining, in this case, okay? Let's push it down to something like two milliseconds, which is super fast. The attack, let's leave it at Let's just push it up a little bit, just a tiny bit. Zero coma 30 milliseconds. It's close to zero anyway. So what I'm going to do now, I'm going to play this track. Pretty sure you can hear there's nothing going on. The most helpful part of using a limiter, especially for beginners, you're going to see what I'm doing in action. Let's play. Alright. Okay. Now let's start playing with the threshold. Let's push the threshold down while playing. Now you can hear when the kick hits, the base dips in volume, but it goes back fast, super fast. Okay? Now, let's push the release. I said, the release is how fast or how slow the compressor let's go or side chain, in this case, let's push up the release and make it slow. I want you to save something. Let's play. Push the release up again. Now, you can see the kick triggers. It's pushing the wave down in volume, and it goes back up slowly, okay? Now, let's turn down the release again. Let's make it something like 50 milliseconds and play. Okay. Here's the flow when it comes to a slow release inside shining. It exposes us to the listener that there's something going on in this track. When the kick hits, the base dips in volume. This is not an EDM track, so we don't want the listener to pick that up, okay? So we're going to go down. When it comes to the release, let's do something like ten milliseconds, which is a first release. Let's play. All right. Great. Another thing we're going to do. Let's go easy with the threshold. We all want to dip the whole signal. We just want to dip maybe eight DB, six dB off of this base when the kick hits, for the base to make space for the kick when it hits and go back up to its normal volume, okay? We all want the listener to hear it. Like I said again, let's play. Alright, let's go down again, slowly. Release. Sorry, the threshold. Alright. -13 DB, that's fine. -14. Nice. Now you can hardly hear the side chaining or the dipping of the bass. Let's do something real quick. Disable the frutilemeter, and play the music. That's without side chaining. Let's enable it. All right? What you're going to notice now, you can hear the kick clearly. You can hear the bass clearly, but they are playing at the same time. And we use that EQ adjustment to make sure that our kick stands out. We use the distortion on the bass to make sure our base is heavy. But at the very same time, we edit that side chain to make sure that they give each other space to shine, okay? This is the low end. It's very important that these instruments work together instead of clashing and fighting for that space, okay? Now we have a clear low end. Okay. And I've been working on myself on my self. Share Call asked me where I've been. I've been working on myself. Alright. Sounds good. Now our kicking bass is clear, our low end is tight. The next thing we're going to do, we're going to start working on our percussions. Okay? Other drum sounds like your kick, your snare, your claps, so that we can continue to work on more melodic stuff like your pianos and everything. So in the next lectures, we're going to start working on our percussions control, save command on your MC to save your progress, and I'll see you in the next lecture. 24. Percussions - EQ, Sarturation: Welcome back. So in this lecture, we're going to start working on the peckison sounds, which is still the drum section. We're going to be adjusting claps, our tones and everything, making sure that everything has its own space. At the very same time, it's not occupying rooms that it's not supposed to occupy, okay? Like I said, the low end, that's where the dominance of our low end, okay? That is around 20 heads, as you can see, on the hint panel, that is around 20 heads until around 300. That's our low end. That's where it shines. But you're going to notice some frequency activity when the base or kick is playing right here. That is to give that kick a unique toll, okay? You don't need to cut it. So what I'm going to do now, I'm only going to enable my drums, okay? And play. Alright. Another important sound when it comes to these drums is my snare. Let's start with the snare. Let's throw in an EQ. No, first, let's throw in a prote waveshaper. Alright? It's under distortions, waveshaper. Alright? So what I'm gonna do here, this is a distortion plug and I'm just going to boost this wave up and down to soften or make the snare more aggressive, okay? Use your mouse control like this. Great. Let's play. Push it up. Okay. Right, let's go down 10%. Without Wi. It's more aggressive with this distortion. We just apply plus 10%. That's it. The next thing we're going to do, we're going to add an AQ. Okay? We're going to do a high pass filter. Remember, high pass filter, we cuting from the left hand side of the EQ. You can still cut like this, but the perimetric EQ typically let some frequencies escape when you're doing that. So let's do it the right way and turn this band to a high pose type right click, go to Type, select highpass filter, okay? So if you want to adjust this slope right here, you just scroll up and down to adjust the slope, okay? Oh, now let's play while cutting. I think 55% slope. That's nice. Let's play. All right. The more I go to the right with this card, the more I'm chopping off the low end, okay? Let's play again. All right. British sure, you can see, there's some frequency activity here. That's typically noise. Some of its energy comes from those frequencies, but some of those frequencies we don't need them. At the very same time, we don't want to unnecessarily create competition for kick and base, okay? Let's cut. Yes. Alright. Around 253 sounds good to me, right? So the next thing I'm going to do, I'm going to sweep around here and see if I can tame some of the top end. There is some aggressiveness. Okay? That is too much for me here. I think it's around here, 5.9 heads, right, let's turn it down. All right. Right. Okay, let's turn down this nine volume. And push it up again. Push it up again. Play it with the kick. Push it up again. All right. All right. This is a hip hop rn Bach track. That's being right there near the kick levels. That's perfectly fine. Alright, let's bring in the tom. Let's add an IQ to the tom, add an IQ to the tomb. Yep. Alright, let's remove the low end from it. Sometimes you don't see any activity, but for security and making sure your mix is clean, you don't have any noise that's happening in the sample. Make sure you cut that low end, man. You can see there's dominance around 214 and 294 when it comes to this H tom. So we don't want to tame it unless we want to adjust and change the tone of the tom. For example, that tom is close to non existing right now. Let's play. Yes. Yep. Around 196, let's leave it there. Let's play. Let's add some high heads. Add an EQ, do a high pass here, just for security. There's nothing bo but let's just cut. Leave it there. 2,800 heads. Alright? Like I said, it's 20 heads from the left to the right side. It's 20,000 heads. That is the top end. That is the frequency spectrum, okay? This high head I think this is enough space for it, okay. The more you adjust. Now you're changing the tone of it, okay? I don't want to, I like it as it is. Okay? That's bringing other sounds. Alright, let's add IQ to this shaker. To a hypas. Leave it right here, okay? I'm leaving some room to it because the sample, it sounds like it has some reverb in a way, so I don't want to tame that effect of that reverb. I love how it sounds. Alright. This vocal effects, let's just EQ it like a vocal in a way, hypas it. Alright. Let's cut until like 250. Okay, play. Nice. Okay, just have fun with it. Make sure you are intentional with your adjustments, okay? Now, let's Control save or commands S on your MC. In the next lecture, we're gonna start applying creative effects just to spice up these drums. Control save, see you in the next lecture. 25. Percussion - Reverb, Sends: Welcome back. In this lecture, I'm going to start applying Rb. The purpose of the reverb is to add more depth and width to the track, okay? It adds some space emulation to make it sound more exciting in a way and interesting. Play the tracks first. Alright, let's solo this high head. First, I want to show you how to use a reverb track. Alright? On your categories, we're going to go to delay reverb category. That's where we'll find our route reverb to, right. Real quick, let's explain the functions of reverb, okay? This is a wet Kobe. This is how much reverb you're applying to a track, and this is the dry amount, okay? You can leave the dry at 100%. In this case, here, this is the size, o of the room. Like I said, it's an emulation of space. So we can increase the room or decrease the room. This is the base tone of the reverb. And here you have some EC perimeters. For example, this one's cutting from the right side. Is the low pass filter. Here, it says high cart. High cart is a low pass filter. It's cutting the high frequencies. Low, it's a high pass filter. It's cutting the low end. It's cutting from the left hand side on the EQ. The delay, this is a pre delay. How many seconds do you want the effect to take before it takes place? At zero, it's instant. Right? This is diffusion. Diffusion. It's basically the absorption of the top end of the reverb. But to save CPU memory, won't be applying the reverb directly to this one sound. Let's delete it over here. Now we're going to start using Sand tracks. Okay? Remember, our template already has a designated section, which is 100 to one oh three for Send tracks. So we're going to rename track number 100. Rename it and say reverb, okay? Rb. And let's change the color. Let's make the color something like drab leaf. Okay. Let's hit Enter. Nice. Sweet. Let's add that fruity reverb. Go to delay and reverb, fruity reverb to. Oh great stuff, okay? So in order to use Sends, we simply send a signal to that track, okay? So for example, in this case, we have the track being sent to drumbz, okay? Now we're going to start using the other part of routing, okay? So I'm going to select this high head and hover over this arrow on the reverb, right, click on it. I'm gonna say root to the Strack not root to the trek only root to the Strack now. Right? Route to this track. Now it's sending a duplicate signal to that reverb track. Yeah, you can use this adjustment to reverb signal as how much signal you want to send to that reverb, okay? We'll be using this track to apply reverb on multiple tracks. Instead of turning up and down the reverb applied on this high head track on the plug in itself, we're going to use this Send tool, okay? So to make sure I'm adjusting the amount of Send, I'm selecting the track, which is the high head. And let's send something like 50% in this case. Let's go to the reverb track and play. Alright, let's open up the reverb. Since this is a sent track, let's mix out this wet level. We don't want the dry signal. Remember, we don't want the duplicate dry signal. We're going to set the dry to zero in this case, because it's a sent track now. It's only purples is to apply reverb tracks, okay? Let's play. All right. And here's another perimeter I forgot to tell you about. This is a decay. A decay is basically the amount of time it takes for the web to go off, okay? So a slower decay, which is a tail of a reverb, takes time for the web to go off, okay? A faster decay, which is like 2 seconds, it quickly shuts down when the truck stops playing, right? So let's set it to just 2 seconds, right? Let's play. Let's increase the size to something like 70 and play. Sounds good. Et's cut off the low end from this Reverb. Let's do something like 200. Look at the hint panel while I'm adjusting. Remember, on our aQ track, right? Remember, this is 200. We're cutting from this side to here, okay? Just to paint an image. Now let's do that cut. On the reverb. Great. Now let's cut the top end. Let's play. Get it done. Around two. Let's stop at one K. Now, let's go up a little bit. All right. All right. These perimeters, normally, they don't do justice for me, okay? I'm just going to say reset and apply an EQ to adjust the top end. On the cen track we're adding an EQ. Let's right look on number seven and say this is going to be a low pass. Let's play. Let's do something like this. Nice. Around 4.75 K. That's why I'm cutting the top end. Leave it as it is, sounds good to me. Now let's turn down the amount of reverb you're sending to this high head by selecting on the high head, remember, the sine perimeter turn. I don't want too much reverb on it. Let's add the snare and clap. Let's send some signal to it. We select on the track. We hover over the arrow of the send. Click on it. If you don't want to do the slow root, which is root to this track, when you're sending signal, you just click on it and click on the arrow. Send signal here. Tin it down. Okay, let's say this is a drum reverb. Let's rename it. Drum reverb. The c's too slow for the drums. Go to the reverb plug in again and try 1 second, which is the tail of the reverb. Let's play again. Alright, let's increase the amount of sand from the snare. Nice. Right. Add the tom. Let's add some reverb. For the tom, I just want 2%. Add reverb for the shaker. Also, you just click on the shaker, click on this arrow. Let's just do 5% for the shaker. Okay, let's do 5% for the H box effect. Nice. Alright. What you can hear now, these drums are more live anyway, because it's adding a realistic feel. Now. Obviously, when the band is playing, there is some room affecting what you hear and that's what a reverb does to a track, okay? Let's play the drums. Let's add more reverb to that high head. Let's push it up a bit. 30. And the Shaker also still something like 10%. Nice. Alright? Now, let's disable the reverb track, the sand. With the reverb. Now the mix sounds more live. It sounds more wider in a way. In the next lecture, we're going to start applying a delay effect to these jump cushions. Control save, I will see you in the next lecture. 26. Percussion - Delay: Welcome back. In this lecture, I'm going to start applying a delay to these drum sounds. While I was listening to the mix, I realized I only want to apply a delay effect to this folks effects. Let's listen to it. I wanted to have a more interesting presence in this mix instead of I want to add an effect where it's like, Yeah, yeah, yeah, yeah, yeah, yeah. Alright. So I'm going to throw in a delay directly on the track, okay? I'm going to go to my slot number two on the Vox effect and bring in the delay number three. What I'm going to do now, I'm going to go to the delay time. Make sure the tempo sync is enabled, right here, okay? So that the delay is in sync with the tempo, which is why it's very important to set your project tempo mixing. In this case, the song is 100 BPM. Alright, let's play. Alright, adjust the time. So the time is basically the amount of milliseconds it takes for the repetitions to take place, okay? Now it's set to eight. Let's play. Yeah. Yeah. Alright. So eight, as you can see, it's a half time delay, 1.5 time delay. On some delay plugins, you're gonna see it say it's half, 1/2. Yeah. Alright, let's set it to four again, which is a quarter delay. It's a faster delay. Great. That's a quarter delay. On some delay plug in, it's gonna say 1/4, which is a quarter delay, right? Great stuff. The next thing we're going to adjust is the feedback amount, okay? The feedback amount, it's how many repetitions take place, okay? So for example, for a low feedback, we're gonna say. Yeah, yeah, that's it. One, two, right? Let's push it up and do 30%. Let's play. Yeah, yeah. We have some repetitions taking place, and they slowly fading away nicely, right? And we have a cut off. The cut off basically adds some filtering to that delay signal. Let's play. Yeah, yeah. Yet. Let's play. Yeah. Alright, let's push it up. I think it's cutting too much off the top end, right? That's what the cut off is doing. It's cutting the top end. Let's play. Yeah, yeah. Alright, I feel like that's enough around five K, 5.3 K. That's enough for me. Let's play. Alright? This is the wet amount. That's how much delay you are applying to that sound. Let's switch it off. Alright. Let's make it 50% because I don't want the delay to be too loud, eh? Nice. 50% sounds good to me, right? Let's leave with the dry as is. You can ignore these for now, okay? But for Beginss, if you know the features I explained, most delay plugins have those, alright? Let's play with the drums now without the delay. Shady call asked me where I've been. I've been working on myself on my self Shady right. Now, let's enable the delay. Wow, listen to it. It's adding a nice effi. Listen to it. Nice. I think that's all I need for now when it comes to delay. Let's move back a little bit. I want to make some adjustment to this cell phone effect. This one. Let's turn it down. All right, let's just turn it down. That's it. Alright, let's switch off my tech. Right? That's it. That's fine for me, right? Control save. Now we're done with mixing our foundation, which is the drum section in this track. I hope you got some value and feel free to send me questions. The next section of this course, we will be working on our melodies, mixing our keyboards, our peds, pianos. That's it for the drum mixing section. 27. Keyboards - EQ, Reverb: Welcome back. In this section, we're going to start mixing our instrument tricks. The focus will be on our pads, our pianos and bell tricks. Let's go ahead and enable the drums to sable the vocals. Let's play the track. Okay, let's enable the selected too. Okay, 15 toll 25. Alright, that's where most instruments are active, okay? So what I'm gonna do first, I'm going to look for the lead instrument, which is the piano. Okay, I'm going to throw an EQ on that one. The first thing we're going to do, we're gonna tame the low end of that piano, right? Let's play. Listen carefully because we don't want to mess up the met of this piano. Let's play. Right there, 200. It's the sweet spot. Let's play. All right. The next thing I'm going to do, I'm going to apply some vp. What do we do to apply reverb? We're going to use the Sandrik select piano and let's select Sand and send some. Okay, I think that reverb is way too fast for this piano. Let's create another reverb track reverb. That will be the reverb for voces where you can use it for pianos. A. The only difference with this reverb, it's going to have a bit slower decay than this one. So I want to save the settings are already made on this one. This is to save us time. We just adjust from this point. We're going to go to this first send track. We're going to go to this arrow right here, drop down arrow. We're going to save presets, send reverb one. Great. Go to the new sound track throwing a reverb. We look for that preset. The faster way will be going to my desktop, just a drag and drop preset. All the settings from the previous one are the same here also. But what I'm going to do now, I'm going to change the decay to 2 seconds. Great. Let's send the piano to this reverb track. I like that. Nice. Alright, let's do something like 25%. Turn it down in volume. The second thing I'm going to do right now we'll be adding a direct delay to this track. I'm going to add the delay three again. What we're going to do here, we're just going to add some feedback loops. Let's stick to quarter delay. Let's turn down the feedback, 20%. Okay, that's what we want. But what I want to do now, I want to cut the low end from this delay, right? Let's add it to high pass filter out height pass, and to the cutting, let's just add it to 50% in play. Okay. Alright, let's do more cutting. Now it's only giving us a filtered feedback loop. We set it to high pass. Remember, high pass, we're cutting the low end and letting the high frequencies pass. Right? Let's set it to band pass, which is cutting from left and right. Now, it's giving it that filtered effect. We're gonna turn down the wave to something like 5%. Let's play. Yes, I want it to be super low. I just wanted to be a feeler in the background, okay? Let's play with the drums. Turn down the piano volume a little bit and the bass. Nice. Now let's go to the supporting lead pad, right? This is the pad. Alright? We're going to remove the low end on this one, also. That is the pad. Yes. As you can hear it, it has some sort of reverb to the sample already, but we're going to add a reverb also here. Let's do something like 20. We just want to make it sound more wide with more depth, okay? Yep, let's play. Won't do much to these instruments. Yes. Okay. Let's bring in the piano. Let's just throw in an EQ on this piano. Hi, Boss. I won't do much to this bell. Yes, let's listen to it. Nice. Yes. In the next lecture, we're going to start adding saturation into some of these sounds just to make them more present and dominant. Oh, that's it for this lecture. I will see you in the next one. 28. Keyboards - EQ, Saturation: Welcome back. In this lecture, we're going to continue working on the lead melodies. I'm going to add EQ and saturation to this one. I'm going to sort of the piano again. Do, I'm going to use a free plugin called the Sausage Fetna. This will probably the only third party plug in, but it's a free one you just search. Sausage fetna you can download it. It's free Sausage fetna I'm going to increase the fatness and you'll hear what's going to happen. Let's play. All right. Let's turn it down too much. All right. Without the effect. With the effect. Let's add some colour. Turn it down. Turn it down again. 15% color. Color is basically working and making sure that top end is a bit brighter. The fatness, it's distortion, adding some thickness and dominance to the sound. What I'm going to do, I'm going to move up this sausage fatna. I want it to be before the EQ, right? So to do that, you just hover over the plug in and scroll up and down in fruity loops, okay? Now it's the first sound so that if it's adding some low end, that I will take care of it and chop off the low end. Now, let's play. Nice. Let's turn down the piano again. Turn down the piano again. Turn it down again. Now, let's play. Grandma, grandma. Nice. All right. What I'm going to do now, I'm going to look for another section where we have the warm piano playing. Write this one. Won't do too much on that one. Also, we're just going to throw in an EQ. Right? Right click, high pass filter. Let's remove the low end. Let's filter it in a low pass filter on the seventh band. All right, let's turn it down in volume. Me. Alright, let's turn it to the left a little bit. These perimeters, right here, these are penning perimeters, okay? Let's turn it to the left, 20%. Okay, the Helix pad. Let's turn it to the right, a little bit. Let's do something 20% also. 25. Okay, the war piano to 25%. Why are we penning? We want to make sure that not everything is dead center so that our piano, the lead piano kind of shines more than the rest of the sounds. Okay, let's play. Yes. Alright, let's listen to it. Sounds good to me. Alright, I'm happy with how these melodies sound. Obviously, you can make further adjustments if you feel like it. The whole purpose of it was to make sure that we're removing any unnecessary frequencies, especially the low end because we don't want anything competing with our kick and bass sounds. The next thing I'm going to do to these keyboard sounds, I'm just going to throw in a creative effect just to spice up the vibe in a way, okay? And that's it for this lecture. I'll see you in the next one. 29. Keyboards - Creative Effects: Come back in this lecture, I'm going to start applying a creative effect. I already have an idea in mind. So let's go to this section. It's 29 until 33. So what I want to do here, I want to add tapo tremolo effect anyway. So I'm going to use the gross bit gross bit. Okay? On the one piano, I'm going to go to momentary momentary, right click momentary select a half bit Git. Okay? So what I'm doing, I'm just applying a gate effect to it using the gross bit. That's it. Just like half bit. To make sure that we don't have this effect throughout the song, what I'm going to do now, I'm going to introduce you to automation. This is the mix level for this cross speed. When it's zero, there is no cross bet on this track. So I'm going to right click on it, create automation clip. Okay, let's look for it. This is the automation clip. Okay? Now we go to the playlist and we create some points here. You just right click to create a point. We push it to something like 75%, do the same thing over here. It's still something 75%. What I'm going to do now, I'm going to remove the selection to. I want to show you something. Look at this perimeter. Look at it. When the song reaches that automation point, the effect is switched on up to 75%. Let's play. And then it switches off. That's the purpose of automation. Listen to it. Don't waste my time, lot ****. I know your body. Now the sound continues to play without that effect. That's the power of using automation when it comes to your creative effects because sometimes you want to autotune one part of the section and you don't want to auto tune the old song, you use automation, okay? So to automate anything, even this level no beer you can automate it. You just right click on it, create automation clip, and then adjust it to the levels you want and you're good to go. Okay, that's automation and creative effects in FFO Studio. One thing I've noticed when I was playing the drums and the vocals and everything, I felt like my piano is not shining that much. So in the next lecture, we're going to start applying compression, see you in the next lecture. 30. Keyboards Compression: Welcome back. In this lecture, we're going to apply compression. What is a compressor? Compressor is a tool we use to do a lot of things, but I'm just going to explain normal compression. So compression, basically, we're processing the sound to have more power consistency because when you are recording a sound, there is parts where the highest peak is lower than the next peak, and the next peak is lower than the previous peak, as you can see on this wave, right? Compression, what it does. It helps us create more consistency, making the sound sound more present, more punchy and in your face, okay? Let's go to the mixer track. Yep. So I wanted to add a compressor to this instrument. I'm going to go to my mixer browser and go to dynamics, right here, and I want to add a fruity compressor real quick. I'm going to explain what's what. Okay. Here we have a threshold. The threshold is the point we set where the compressor will start working, and the ratio is the amount of compression. This ratio at one to one, it's literally Nothing. Because the ratio works in this way. One to one, that means for every one deciple we compress of the signal, we're letting one pass so no compression is taking place. When you set it to something like three to one, for every 3 decibels, we are letting one pass. So there is some compression taking place, still some light compression. We push it up, it's crazy compression. 221, it's heavy, heavy. That's limiting now. So let's just set this compressor to four to one. And here you have a attack. This is how fast the compressor grabs the signal. In this case, let's play the sound and adjust the attack, okay? But for pianos, I'll typically use 15 milliseconds, like the way it is now, or use maybe 50 milliseconds, right? Let's play. And the res is how fast the compressor let's go off the signal, okay? How fast or how slow let's go. So for this piano, I'm going to set it to I don't want it to be super fast, but I don't want it to be super slow, also, Okay? So I'm going to leave it at something like 87 milliseconds. This is the type of compression. So plugets don't have this one, but you can just decide if you want the vintage or school sounding compression or medium or hard compression. The vintage one has that old school taste of real hardware in a wave. Let's leave it at vintage and play while turning down the threshold. When the threshold point starts reaching the peaks of the piano, you're going to start to hear some compression. Let's play. Yep. Now compression is taking place. I'm sure you can hear it's turning down that sound. Let's play. Let's go easy. Alright, I feel like it's too fast for this piano. Let's set it to something like 50 milliseconds. Play. Go down, threshold. Alright, right there. Now you can hear the compression pushing that volume down. So we are losing volume when we are compressing because we're trying to create consistency and sacrificing some volume in that process because the high peaks are the loudest part, right? So now I'm going to introduce you to another perimeter, which is the gain one. This is the makeup gain. When we are compressing, we're losing volume, right? All right? I think it's around minus five TB -60 B. Some compressors, they even give you a signal and show you how much gain reduction is happening. But in this case, I think it's minus five TB. Let's do plus five TB gain because we're losing minus five TB. Yep. All right. Then again, let's move that compressor up, scroll up and down, hover over it, scroll up and down, and just make sure it's right after the perimetric E. Okay. Let's play. Alright, let's chop off the top end of this piano. Let's enable the lowpass and been seven. Just leave it as just tiny adjustment. Let's switch off the compressor. Enable it. Alright, let's try to do 60 B gain boost. Let's switch it off. I'm pretty sure you can hear now. With the compressor, it sounds more punch. It sounds more present. Now, let's play it with the drums. Sounds good to me, sounds good to me, and that is the whole purpose of compression. And we done mixing the keyboards, sound section. 31. Vocal Mixing Class: Hey. Welcome to Module four of the mixing in AL studio using Stock plug ins. And this one will be working on our vocal tracks or making sure that our backings sound good, but not competing with the lead vocal and, of course, working on our lead vocal, making sure that it's dominant, punchy, and present in the mix. To make it easy to follow along, please make sure you download the updated project file up to this point in the project section. Let's get started. 32. Vox - EQ: Welcome in this lecture, we're going to apply vocal. Vocal IQ consists of three steps. So we're going to start with the cut. The cut is basically removing the low end frequencies from the vocal. Let's go ahead and solo the lead vocal and play. Shorty Call asked me where I been. I've been working on myself. Alright. Listening to this artist, you can hear that he has some low tone to his voice. So we have to be very careful with cutting the low end, making sure we don't remove that part of his voice. Let's add a perimetricQ to the hook lead and play. Shady Call asked me where I been. I've been working on myself. Shady Call asked me where I've been. I've been working on myself. Alright. Obviously, you can see on the visualizer here that there is some activity on the low end. So we're gonna enable a high pass filter. And let's cut while playing. Shady Cale asked me where I been. I've been working on myself. Shady Call asked me where I've been. I've been working on myself. She gonna probably ask me who I'm with. I've been working with the best. Alright, around 200 sounds good to me. Let's push it back a little bit and play. Shady Call asked me where I been. I've been working on myself. Go up. Shady Call asked me where I been. I've been working on myself? Nice. Shady Call asked me where I been. I've been working on myself. Alright, sounds good to me. Let's use the bend number four and narrow its adjustment a little bit, scroll up and down to narrow it. The wider it is, the more frequencies it's affecting the narrower it is, lesser the frequencies it affects, okay? So what are we going to do now, we go to sweep around and look for any boxes sounding frequencies and then tame those frequencies Shady caller asked me where I been. I've been working on myself. Shady Cal asked me where I've been. I've been working on myself. Yeah, she gonna probably ask me who I'm with. I've been working with the best. Yeah, I hardly ever rest. I worry about the best. Shay Carl asked me where I been. I've been working on myself. Shay Cal asked me where I've been. I've been working on myself. She gonna probably ask me who I'm with. I've been working with the best. Right the 493. For a more accurate adjustment, we're going to use this level right here, okay? We turn it down a little bit. We're just going to tame it and do maybe a minus three cut. Let's play. Shay Cale asked me where I been? Let's narrow it. Let's play. Shay Call asked me where I been. I've been working on myself? Yes. Shay Collin asked me where I been. Alright, let's do, let's leave it at minus three. And let's use the band number three to do another sweep. Let's narrow it. From a sweep from there. Shay Call asked me where I been. I've been working on myself. Right there. Shay Collin asked me where I been. I been self. Minus three You gonna probably ask me who I'm with. I been working with the best. I hardly ever rest. Alright. That gives us more clarity by taming those kind of boxy sounding frequencies when boosted, okay? That's what I normally do. Let's switch it off the IQ and play. Shady caller asked me where I been. With the IQ? Shady caller asked me where I been. I've been working on myself? Nice. Shady Call asked me where I been. I've been working on myself. She gonna probably ask me who I'm with. I've been working with the best. Alright, that was the second stage. Now, let's see if we can post the top end a little bit, right? Let's use number four and post right here. Shody collar asked me where I bed. I've been working on myself. Alright. Let's change the nature of this bind to order key type. Let's change it to a higher shelf. Instead of a picking bend, it's gonna be a higher shelf, right? So everything from this point to the end will be affected by this adjustment, right? It's a shelf. Let's play. Shady collar asked me where I been. I've been working on myself. Shady Call asked me where I been. I've been working on myself. Yeah. She gonna probably ask me who I'm with. I've been working with the best. I hardly ever rest. I worry about. Let's disable the adjustment. Shady caller asked me where I been. Enable it. Shady caller asked me where I been. Alright, let's sit it down. Let's do something like two my five, not too much. Shay Call asked me where I been. I've been working on myself. Sounds good to me. Nicole asked me where I've been. Right? That top end boost is just to add more brightness to it. Let's save this preset just in case we need it in future. Remember, there's one artist on this song. We might need that one. We say EQ. Okay, EQ mean vocal. We save the preset right there. Let's enable other vocal tracks. Shay Cale asked me where I been. I've been working on myself on myself. Shay Call asked me where I've been. I've been working on myself. Right. She gonna probably ask me who I'm with. Let's play and go forward with the track. Feel for you worry about it best. Hi, KandenNi, baby, yeah, I felt for you. Kendenni, baby, yeah, I felt for you. Oh I think you never I'm away from you. Oh. I've been in the boo. Tab. I connect the plugs and then collect the cash. Oh I connect the plugs. Yes. And then collect the cache. Alright, I'm gonna use the same EQ setting, right. It's the same voice, and it does sound the same to my ear, right? So what I'm gonna do, I'm gonna drag and drop that preset. Okay. We're gonna drag and drop that preset. Okay? Just like this. It's going to look like this. You just drag and drop it. It shows you those settings. Alright, let's play. Ooh. I connect the plugs. Turn down the volume. Then collect the cash. So, baby I'll be home. But maybe in the morning. I'll be on the y swat it is. I really don't know what you thought it is. You'll be out of l. Now, let's enable the backings from the hook. Shady Cale asked me where I been. I've been working on myself. Shady Cal asked me where I've been. I've been working on myself. She gonna probably ask me who I'm with. I've been working with the best. Hey. With the backings, what we want to do want to make sure that our backing trucks are not competing with the lead vocal. So what we're gonna do? We're gonna set a high pass filter and cut off of the low end. Shady Cal asked me where I been. I've been working. We're gonna go crazy with the cut. Let's do something like 500 and do a high pass filter, also. So what we're trying to do now we're trying to give it a filtered effect in the way, Let's play. Shut. Salve, ya, ya. Yes. Amsel, yeah, yeah. Nice. I've been working with the best. Nice. Alright? We're gonna save that. Preset. We're gonna say this is the backing IQ. Okay, we'll save it. And we enable another baking truck? Well Yes. Amsel ya, ya. Alright, throw in an IQ. What are we gonna do? We're gonna import that preset again. The backing IQ, you just drank and drop it to the plug in. Boom. Well, B a Let's look for more vocal tracks and add each. Worry about it Caden, baby, yeah, I feel for you. Alright? Cindy baby, yeah, I feel for you. Did you hear that? What's this? The artists clearing his voice. Let's go and use the slice tool to remove that. Okay, just cut, cut from the right and left hanside. Select the paint tool, right click to delete. Alright? Now we got rid of that. Alright. Let's play. Baby. Alright, we're gonna apply the backing EQ on this one, also with dragon drop that preset. Right? This saves you a lot of time because I kind of know what I want. I've already done it on another track. I just drag and drop that setting. Let's play. Baby, for you. I'm away from you. Alright. Great. Boo topping in the store. Alright? I don't let my feelings block me from my view. Baby, from punish for myself. What are we gonna do to this one? We're gonna add the lead EQ setting to this one, also. WF punish for myself. Nice. Let's play. Nah, nah. Let's adjust the levels. Nah. Let's be where. Swim. Alright, what are we going to do to that intro? I'm gonna drop that perimeter IQ and import main lead preset setting ID. What I'm going to change on this one, I'm just going to change this top shelf boost to a low pass, right? And adjust it, turn it down a little bit, and just cut some of the top. Let's play. Wait, i put the volume up? Shin. Ask me where I've been? Yes. What's that? Shady caller asked me where I've been. I've been working on myself Shady Color asked me where I've been. I've been working on myself. Son Alright, listen to these vocals without the EQ adjustments, okay? Without the EQ adjustments, listen to them. Shady collar ask me where I've been. I've been working on myself myself. Shady Collin asked me where I've been. I've been working on myself? With the EQ settings. Shody collar ask me where I've been. I've been working on myself Shady Collin ask me where I been. With that EQ adjustment only, they sound like they are cutting through the mix a bit because the unnecessary frequencies are removed and they are not competing. So in the next lecture, we're gonna start applying a DSRC in the next lecture. 33. Vox - De Esser: Hey, welcome back in. This lecture, we're going to start applying a DS to this vocal, okay? The purpose of a DS is to soften the sharp s so that the sounds a bit gentler to the listener, right? So I'm going to bring in an EQ just to demonstrate something real quick. So what I'm going to do, I'm going to dip the frequency number six, narrow it a little bit, okay? Around 9%. And let's push it to something like six K. That's where you find the sharp s of your vocal. Shady Collin asked me where I been. I've been working on myself. 6.5. Shady Collin asked me where I been. I've been working on myself. Nice. Let's disable the Q. Shady Carl? Let's enable it. Shady Carl asked me where I been. I've been working on myself. Shari call asked me where I've been. I've been working on myself. Yeah. She gonna probably ask me who I'm with. I've been working. Alright. Just with that dip, the SS sounds a bit softer. In every studio, we don't have a designated DSA plug in, which is a compressor plug in designed to do this, focus on the specific bend and then tame that bend when it gets too aggressive, which is a bit automated. But the perimetric EQ does a permanent adjustment to this. So let's disable it and use a compressor to do this job, right? Let's go to the maxims too. The maximus specifically a mastering tube. In this case, we're going to use it just to tame the frequency remember the frequency we selected with that issue, that's what we want to focus on, okay? The beautiful thing about the plug in, they already have a DSA narrow band preset already set for us. So we're going to start with that preset instead of tweaking everything from scratch, okay? We're going to say DSing DSA narrow band. As you can see, you can select the low, the mid, the high, whichever you want to focus on to tweak. This graphic curve is a compression tool, okay? So this is a threshold point. And that is more like your ratio. Okay? That's your ratio? Okay. Great. So what I'm gonna do now, I'm gonna play the track and listen to it. Shady Cal asked me where I been. As you can see it, that's the signal coming in. Shody call asked me where I been. I've been working on myself. Shady Call asked me where I've been. Alright, we're gonna go aggressive with the threshold. Let's push it down and push down this knee and push down the threshold. Okay. Let's play. Shody call asked me where I been. I've been working on myself. Push it down again? Shady Call asked me where I been. I've been working on myself. Let's slam this ratio. Shady call asked me where I been. Let's disable it. Shady Call asked me where I been. Enable it. Shady Call asked me where I been. I've been working on myself. Shady Call asked me where I been. I've been working on myself. She gonna probably ask me who I'm with. The area we're adjusting with this compression tool, it's this one, right? It's from this point to this point. That is where the compression is happening, okay? The low, we're not affecting it. The high, we're not affecting it. You can also do your own adjustments towards selected, right? By adjusting this low bend, right? You just select on it and push the cross over maybe to something like five K if you prefer for a bit more narrow one and adjust this maybe to, like, something like eight K, right? As you can see, you can use this one, and this low and high. They will help with narrowing that mid bend. Great. As you can see now, it's a bit tighter. Now let's see if the effect is still the same. Let's play. Shady Call asked me where I been. I've been working on myself. Shady Call asked me where I been. Disabled? Shady Call asked me where I been. I've been working on myself. Right? Still nice, but I feel like the wider selection was doing a better job, okay? Let's play? Shady Call asked me where I been. I've been working on myself. Nice. What I want to do now? I'm gonna take these settings, save them. Save the maximum, sir. Okay. I want to save them. Dear, sir. And I'm gonna go to all the lead tracks. I can't deny, baby, I felt sat on level. Okay. Davis, I told you you body, but that never makes. Okay, I'm gonna throw the maximus right. Okay. Bring in the prict again. We're gonna drag the DSA. Present. Boom. Same setting. Body. But that never makes no money. I'm in the position to flourish smears, use trying to keep you like my focus. Yeah. So just let them talk. Punish for. Do the same thing at the Maximus, okay? Huge time saver. Drag and drop a setting. Baby, I'm punish for my sins M remember. Beautiful. Now that we've cleaned the vocal, what are we going to do now, we're going to give it more dominance, okay? So the lead vocal tracks, we're gonna throw in some compression to make it sound more punchy in your face. Because remember, this is a lead instrument. It needs to be dominant, okay? Now it's clean and everything. It's fine, but it needs to take over now, right? So in the next lecture, we're going to start applying compression to this vocal track. 34. Vox - Compression: Welcome back. In this lecture, we're going to start applying compression, but we're going to use the fruti limiter compressor in this section because I want to show you the visual side of compression, right? So we're going to bring in the fruity limiter, okay? The lead vocal section, the hook. Okay? If you still remember what did I say, you can switch this limiter to a compressor from limit, click compressor. Now it's a compressor too, okay? So the first thing I'm going to do, I'm going to set my ratio. Typically, I'll use four to one for vocals, four to one, great stuff. For my ate I'll let's do something like 20 milliseconds, 30 and the release, I don't want it to be super slow, so I want something like 80 something, 89, 89 milliseconds. That's perfect for me, okay? So remember the attack, how fast the compressor grabs the signal and compresses it. The release, how fast or slow it lets go, right? So what I'm going to do now, I'm going to mix out this compressor because I want you to see the effect in action, okay? Let's play. Shorty Call asked me where I been. I've been working on myself. Shady Call asked me where I been. I've been working on myself. Pretty sure you can see that there's nothing going on. There's no compression taking place. We're gonna start pushing down the threshold until we meet the peaks, and that's why you'll start hearing compression happening, okay? As you can see, there's multiple levels of picks. We're just trying to create some consistency. We don't want to slam it and cross this vocal anyway. So we're gonna be gentle with the compression, slightly aggressive anyway, because this is a vocal track, and the lead has to take over, anyway, okay? So let's play and turn down the threshold. Shady Call asked me where I been. I've been working on myself. Shay Call asked me where I've been. I've been working on myself. Turn it down. She gonna probably ask me who I'm with. I've been working with the best. I hardly ever rest. Yes. I worry about the best. Turn it down. Shady Call asked me where I been. I've been working on myself. Shay Call asked me where I've been. Again. I been working on myself. Yeah. She gonna probably ask me who I'm with. I've been working with the best. I hardly ever rest. I worry about the best. Shady Carl asked me where I been. I've been working on myself. Shady Call asked me where I been. I think -29. We can hear that compression now. Standing down the vocal anyway. Shady Call asked me where I been. I've been working on myself. Alright. The average gain reduction will say it's -5%. So we're gonna use the makeup gain now, which is this gain no right here to boost five TB, making up for the gain we lost when we were compressing. Okay, let's play. Shady Call asked me where I been. I've been working on myself? Yes. Shady Call asked me where I been. I've been working on myself. Let's switch off the compressor. Shady call asked me where I been. I've been working on myself. Shady Call asked me where I been. I've been working on myself. Enable it. Shady Call asked me where I been. I've been working on myself. It's clear that the vocal has more power, more energy now, more confidence right now. Let's play it with the drums. I want to show you something. Without the compressor, let's play this vocal. Let's play this vocal without the compressor. I want to show you something amazing about the compressor, okay? Switch it off. Shady Cal asked me where I been. I've been working on myself. Shady Collin asked me where I been. I've been working on myself. She You can still hear the vocal fine, but let's enable the compressor. Shady Cal asked me where I been. I've been working on myself. Shady Collin asked me where I been. I've been working on myself. Have you noticed that the vocal is not higher, but it sounds more punchy and present? Let's turn down the volume a little bit right now because it still dominates without a lot of volume. Let's play. Shady Cal asked me where I been. I've been working on myself. Turn up the volume a little bit. Shady Carla asked me where I been. I've been working on myself. Shay Carl asked me where I've been. I've been working on myself. She gonna probably ask me who I'm with. I've been working with the best. I hardly ever rest. I worry about the best. Boom. Now you can hear this is a lead vocal. So what I'm gonna do now? I'm gonna save those settings. I'm gonna say this is a lead comp. Mm hmm. Great stuff. Save it. Okay. Shay Carl asked me where I've been. I've been working on myself Shay Colin asked me where I've been. I've been working on myself. She gonna probably ask me who I'm with. I've been working with the best. I hardly ever rest. I worry about the best. In the the I don't let my feelings lock me from my view. I connect the plugs, then collect the cash. I'll connect the plugs. Alright? On this verse, we're gonna do the same thing, throw in the fruit telemeter, bring in that precut. Okay? It's the lead compressor. Then I can drop it. When it comes to the backing vocals, I'll apply a light compression to make them sound more consistent, okay? For example, in this case, let's go and select this backing truck right here. Shady color asked me where I've been. Shady Call ask me where I've been. I'm a self, ya, ya. Alright? W W go with best niggle? Let's start from the lead compressor Precit and adjust from there. Dave, yeah, yeah. Yep. Where I been. Let's switch off the game, the makeup gain. Let's play. Well BO We Why go with Best niggle? Harley ever resting F the top, ya, ya. Wall bean I'm south ya, y'all. Ow Why I go with best niggle? Harley ever resting F the top, ya, ya. We bend. Alright? That's like minus three minus two gain reduction. Obviously, there is some louder parts in a way. So I'm just gonna go light in a way. I want to do. Okay, we're just going to do plus two comma five. Okay? I don't want it to be too aggressive. It's a baking track. Let's play. Yeah, ya. Well bend on myself, ya, ya. Right. Let's save this baking. Compression, preset. Baking. Compression. Okay, and then I'm going to go to all the other baking tracks and just throw in this preset setting as is. Let's play the track. ****, Nana S Let's apply that light compression here also from the backings. Let's play. ****. Nana That's beware been cut What's that Shorty color. Alright, that transition effect is way too loud, eh? Let's turn it down. It's too low. What's the plus? Shady color ask me. Alright, let's throw in a reverb to that riser effect. She What's the plus? Shady color asked me where I've been. I've been working on myself on myself. Shay Color asked me where I've been. Right. Obviously, you can go manually adjust every duplicate prest. Now we have dominant, consistent and punch sounding vocals. Time to add creative effects like reverbs and delay, and then we'll move on to OQ. See you in the next lecture. 35. Vox - Reverb & Delay: Welcome back. In this lecture, we're going to start applying reverb and delay to these vocals. We already have reverb sound tracks. We're going to create a delay track now, okay? So let's go ahead to Track one oh two, rename it and say a delay. For our voces, okay? Is that color. Let's change the color. Okay. Perfect. Let's set it to delay three. Set the core delay. Remember, time, which is time four, it's a or delay. Let's set it to band pass. I want the filter effect. Let's turn down the feedback level to 20. Let's switch off the dry because this is a sound track. We just want the wet, which is the delay. So what's the purpose of a delay on vocals? Is to fill up the gaps in between and make the track sound more fuller and interesting to the ear, okay? So let's play and send signal to that delay. Shady Cale asked me where I been. Solo E. Shady Call asked me where I been. I've been working on myself. Shady C Alright. Let's go and adjust that band pass on the delay track. I feel like it's too aggressive. So let's adjust the cut off. Right, right there, around 447. Let's play. Shady Cale asked me where I been. I've been working on myself. Shady Call asked me where I been. I've been working on myself. I like that. Let's turn down the amount of sand. Let's play. Shady Cale asked me where I been. I've been working on myself. She Call asked me where I been. I think I'm happy with 20%. Let's enable all the vocal tracks and play. Shady Carl asked me where I been. I've been working on myself. Shady Cal asked me where I've been. I've been working on myself. She gonna probably Alright. So what I'm gonna do now, I'm gonna apply reverb to these tracks, okay? We're gonna start applying the vocal reverb to the lead one and play? Shady Cal asked me where I been. I've been working on myself. Shady Call asked me where I been. I've been working on myself. 30% sounds good to me. These are vocals. I want them to be wet, but not too wet, okay? Shady Call asked me where I been. I've been working on myself. Shady Call asked me where I been. I've been working on myself. Alright? I'm gonna start bringing other vocal tracks and apply the same 30% reverb to all of them and adjust where there's a need, okay? So I'm gonna do 30%. Shady call asked me where I been. I've been working on myself. Shady Call asked me where I've been. I've been working on myself. She gonna probably ask me who I'm with. I been To speed up this 30% replication, I'm just going to right click on this 30% adjustment and copy this value. Go to the next vocal track. Send, right click, Pace value, okay? Go to another track. Send, right click. Piece value, okay? Send, right click. Sand, right, click. Please fail you. Let's play. Alright, let's play. Shay Carl asked me where I've been. I've been working on myself. Shady Carl asked me where I've been. I've been working on myself. She gonna probably ask me who I'm with. I've been working with the best. I hardly ever rest. I worry about the best. I can't deny, baby, I feel for you. Right. So what I'm gonna do, I'm gonna copy the delay value also and send delay to this lead Vastrack. Send delay, copy that value, right? It's 20%, right? Another lead track. Okay. The intro also, I'm going to send apply the same value of the delay. So let's play from this side and play. Y. ****. No, no. Ask me where I've been. ****. What's that? I'm pretty sure you can hear with the reverb, the vocals sound more wider, more present, more interesting to listen to, okay? Let's switch off the reverb and play the vocals and the track, okay? Let's play. What's the pus? Shay Color asked me where I've been. I've been working on. Alright, sorry. The reverbs still on. Let's play. What's the fund? Shady caller asked me where I've been. I've been working on myself myself. Shady caller asked me where I've been. You can hear the vocal tracks. They sound clear and everything, but with the reverb, What's the pus? Shady Cal asked me where I've been. I've been working on myself myself Shay Cl asked me where I've been. I've been working on myself. She gonna probably ask me who I'm with. I've been working? Nice. Now you can hear they're more present, a bit more dominant. I feel like with our lead vocal, we can get away with something like 40% reverb, okay? 40% on the lead Drex? Let's try that. 40% on the track. Let's play. What's the f? Shay Collin asked me where I've been. I've been working on myself Shady Collin asked me where I've been. I've been working on myself. She gonna probably ask me who I'm with. I've been working with the best. I hardly ever rest. I worry about the best. I gen then let's hear that delay on the verse section. From my view. I'll connect the plugs and then collect the cash. Turn down the volume? Baby, yay home. But maybe in the month. I'll be on the gia what it is. I really, really. Great. I feel like that reverb is too much for that area. Let's turn it down back to 30% Esplay. From my view. I'll connect the plugs and then collect the cash. Nice. Baby, yay home. But maybe in the morning. I'll be on the y, swat it is. I really don't know what you thought it is. You'll be alive by my business. And I feel like the delay for that part also doesn't work that much. So let's do something like 10% of the delay of the worse. From my view. I'll connect the plugs and then collect the cash. So, baby be home. But maybe in the morning. I'll be on the y, swat it is. I really don't. Smooth. Now, the delay is close to non existent, but it's there. It's filling up the track in the beer ground. That's the beauty of it, do care? Let's listen to the hook? B. Shady col ask me where I've been. Alright, I feel like we can get away with turning down that delay on this one, also. Let's do something like 15%. So Blur Shody Cl asked me where I've been. I've been working on myself. In the next lecture, I'm gonna start applying old tune to some of these vocals, just to tighten the vocals a bit and make them sound more modern. That t pay effect, if you want to call it. See you in the next lecture. 36. Vox - Auto Tune: Hey, welcome back. In this lecture, we're going to start applying an oro cune effect to the lead hook vocal, okay? We're going to stick to stock plug ins, as I promised. So we'll be using the FL pitcher plug in. Follow me and go ahead to the empty mix slot. And let's find pitcher. Okay? Boom, that is the EO picture. What this plugin does, it gives you that orcune TPN effect, if you want to call it. Obviously, it's a stock plug in, so it's not super high quality, but for beginners, I believe you can get some decent results with the plugin. But I want you to focus on three main features of this plug in, okay? We're going to focus on the song key. That will count as one, and we're going to focus on the tone of the vocal. Okay? Listening to the vocal, this is a low male voice. So in this case, we're going to change the gender from center two low male, which is a male voice. Great. The third feature you're going to focus on, it's the speed. That is the correction amount. But yeah, it's just written speed. The faster it is, the more orice that's applied on the vocal or signal, let's go ahead and just make sure everything is set to minor. The song is C minor, right? C minor. Low mail. The correction speed, let's just set it to 90. Since this is Oticune, it's affecting the pitch of the vocal. Let's make sure it is the first plug in before everything. Okay. Let's make sure it's on slot number one. To do this, you already know that you just scroll up and down to move and effect up and down, right? Let's go ahead and listen to it. Shady Call asked me where I've been. I've been working on myself. Let's set it to slow. And play and push up the speed while listening to it, okay? Shady Colin asked me where I've been. I've been working on myself. Shady Colin asked me where I've been. I've been working on myself. She gonna probably ask me who I'm with. I've been working with the best. I hardly ever rest. I worry about the best. I can't deny, baby. Yeah, I fell for you. I think you never I'm away from you. I've been in the boots. I've been in the stool. 'Cause I don't let my feelings block me from my view. Shorty cos me where I've been. Right? The more I change the coon speed now from super fast, which is 100 to 95, the auto correction, it's a bit more accurate, in a way. So let's set it to 93 and play again. Shary Color asked me where I've been. I've been working on myself myself Shary Cal asked me where I've been. I've been working on myself She gonna probably ask me who I'm with. Alright? I'm pretty sure you can hear some of that robotic effect. But once again, I don't want it to be too much, as I don't want the vocal to be overwhelmed with the oricun effect. It's just to add some modernization to it and just tighten the notes a little bit, okay? Obviously, this is a stock plug in. It's not decent quality like the third plug ins, like you way real tune and everything. But for starters, you can use pitcher and get some decent results. And my recommendation is while recording, set the right amount of oricune and record through the Oicune and you'll get way more superior results when it comes to OicunPitre, okay? And that's it for this lecture. That is how we use Oicune. We're done with mixing vocals. Thank you, thank you very much. 37. Audio Mastering Intro (Stock Plugins): Welcome to the Mastering section using FL Stock Plugins. We're going to be using a different song just to keep things interesting. And you can also download the mixdown attached to this video, okay? I had to do a stock version for you guys, as I'm going to continue adding more stock lecture if you have a request there is something you didn't understand, please feel free to shoot me a message, and I will edit to the student request section. The whole purpose of me being on you Demi is to make sure that you guys get the results you paid for. Right now, I'm going to go straight to explaining the purpose of mastering and then we'll go ahead to applying plugins. The first thing we're going to do before we apply any mastering effect we're going to listen to the mix down itself, okay? This is to make sure that there are no crackling pops because, remember, when we are mastering, we're just mustering a well mixed product. We're not trying to fix anything yet. So if you feel like your vocals are too loud or your guitar is too loud, or your snail is too loud, go back to the mix, fix that, and then come back to the mastering, okay? So the first thing we're going to do, we're just going to listen to the mix, don't touch anything, don't adjust anything, just listen to it. Fro. Yeah. Press the blesses, the blessings, the glasses. Roll the blesses. They never start. Go and get it. That's you yours. I fresh it dead. That's you for sure. I take the package. And then I go I get the beggar deserve it. S's from my bro deserve it. I charge a fee for the service. D present, then I deserve. I get the baggy deserve it. S's from my bro deserving. I charge a f for the service. De present, then he deserves. Oh, my home is Rock and street Mt. I let him talk and watch that ****. Alright? To save time, I already listen to the mix and everything is on point, okay? So I'm going to look the loudest section of this song, which is 49 to 65. Yeah. Oh, the blesses. That's it for this introduction lecture. Let's get to work. 38. Audio Mastering - EQ (Stock Plugins): Come back. In this lecture, we're going to start applying EQ. The whole purpose of applying EQ is to make tiny adjustments to make sure that everything is balanced before we add compression. Great stuff. So the first thing I'm going to do, I'm going to apply a low cut EQ, okay? The only frequency I'm going to remove is the lowest frequency. It's a frequency we don't even pick up with human ears, which is 20 heads. Okay? So I'm going to select a high pass filter, adjust the step to Let's do something like step six, which is a super sharp cut. And then let's push it back until we reach 20 heads. Let's play. Roll the places. They never start. Let's switch it off. Roll the places. I'm pretty sure that you don't hear any changes because that is a super low frequency. So now that we got that out of the way. So the second thing we're going to do, we're going to sweep around around 50 to 70. That's where the dominant frequencies of the kick are and see if we can boost some of that to get some more punch, okay? So let's go ahead. Roll the glass. They never start. Okay, remember to adjust the bend, you just scroll up and down. Let's push it. Row the blesses. Yeah. They never start. Go and get it. That's yours. A freshed day. That ship push. 54 heads sounds good to me, okay? Let's turn it down. Let's do something like three DB. Row the blesses. Yeah. They never start. Go and get it. That's yours. A fresh it daylight, let's switch it off. Row the blesses. They never. With the EQ throw the blesses. They never start. Now you can hear that kick punches a bit more, okay? So the whole purpose of mastering, we're doing subtle adjustments just to make sure the master sounds polished. It's our final chance to make sure our song is ready for release, okay? So the second thing we're going to do, I'm going to sweep around five K, seven K. That's where we normally shine our sharp Ss when we're using a DSA to soften the Ss. But at the very same time, when everything is exported, there's a lot going on in the frequency section. So what I'm gonna do, I'm gonna sweep around, see if there's any too harsh frequencies that we can dip to get more clarity and softness for the listener, okay? So let's see exp Throw the blesses. Okay, let's narrow it. Okay, great. Let's place. Throw the blesses. They never start. Go and get it. That's a fresh the day. That's for sure. I take the package. And then I go I get the beggar I deserve it. That's from my bro deserve it. I charge a fee for the service. Depress it, then I deserve it. I get the beggar I deserve it. That's from my Bowie deserve it. I charge a fee for the service. Deresy then he deserves. Alright, 5.7 21. I think we can get away with dipping that frequency. Remember, we're not removing it. Just a gentle adjustment. Let's do something like two DB and play. Row the places. They never start. Go and get it. That's your right, let's narrow the bend a little bit more. Let's play. Roll the blazes. Yeah. I never start. Let's disable that dip. You just go over to the seventh bed, which is this one. Left click. Play. Row the blazes. In never start. Enable it. Roll the blazes. In never start. Right, let's widen this band. Just a little bit more. Let's play. Roll the blazes. In never start. Go and get it. That's yours. A fresh day. That's it for sure. I take the package. I like it. Sounds good to me, okay? And that's it for this lecture. See you in the next. 39. Mastering - MaximusLimiter (Stock Plugins): Welcome to the Mastering section using FL Stock Plugins. We're going to be using a different song just to keep things interesting. And you can also download the mixdown attached to this video, okay? I had to do a stock version for you guys, as I'm going to continue adding more stock lecture if you have a request there is something you didn't understand, please feel free to shoot me a message, and I will edit to the student request section. The whole purpose of me being on you Demi is to make sure that you guys get the results you paid for. Right now, I'm going to go straight to explaining the purpose of mastering and then we'll go ahead to applying plugins. The first thing we're going to do before we apply any mastering effect we're going to listen to the mix down itself, okay? This is to make sure that there are no crackling pops because, remember, when we are mastering, we're just mustering a well mixed product. We're not trying to fix anything yet. So if you feel like your vocals are too loud or your guitar is too loud, or your snail is too loud, go back to the mix, fix that, and then come back to the mastering, okay? So the first thing we're going to do, we're just going to listen to the mix, don't touch anything, don't adjust anything, just listen to it. Fro. Yeah. Press the blesses, the blessings, the glasses. Roll the blesses. They never start. Go and get it. That's you yours. I fresh it dead. That's you for sure. I take the package. And then I go I get the beggar deserve it. S's from my bro deserve it. I charge a fee for the service. D present, then I deserve. I get the baggy deserve it. S's from my bro deserving. I charge a f for the service. De present, then he deserves. Oh, my home is Rock and street Mt. I let him talk and watch that ****. Alright? To save time, I already listen to the mix and everything is on point, okay? So I'm going to look the loudest section of this song, which is 49 to 65. Yeah. Oh, the blesses. That's it for this introduction lecture. Let's get to work.