Hands-On Mixing with MIDI Controller

1. [INTRO] - Hands-On Mixing in FL Studio (FabFilter Plugins) : Hey, what's up, guys, gratuitous here in this course, you guys are gonna be learning about how to get hands on mixing. Now, this is a motorized fader and we're not using this in this course. We are actually getting hands-on mixing with a midi keyboard. Okay, I just want to quickly put this at the beginning of the intro video because I have always wanted to get hands on mixing and FL Studio. And I even went to the point of buying an expensive unit like this, thinking I can get hands on mixing with motorized faders and I thought it was so cool. But something like this is not set up very well for a good workflow in FL Studio. I always found like I kept having to go back to my mouse. This course is going to teach you off of your midi keyboard how to get hands-on mixing. Like no, we do not have motorized faders on our midi keyboards. But the approach I teach you, you just switch over your different banks. You're gonna get a great experience. So let's hop into the course intro video, where I break down above the midi keyboard and how to get hands-on mixing. Okay? Alright, welcome to my course here about hands-on mixing and FL Studio. So right here I have the M Audio oxygen pro midi keyboard. This is what I recommend if you are using FL Studio at the moment. I'm creating this course, July 14th, 2022, just to give you an idea. But every midi keyboard works pretty much the same way when it comes to hands-on mixing with fl Studio, when it comes to your different banks. Okay, So let me just break that down for you. So mainly what we are going to focus on is on fab filter plugins. But I will also make another little bonus video about FL Studio stock plug-ins. It's essentially the same thing. Essentially, we are learning how to set up a global links to our sliders and our knobs. And you can use your banks to go across multiple knobs and sliders. Okay? I have 12345678. But what happens is when we go to the next bank, and again, I just have them color coded. So now I know I'm on the second bank, now. I'm on the third bank now. I'm on the fourth bank. Okay. So we're on the first bank. And again that's one to eight. We go to the next bank, that's nine to 16. Go to the next bank, that's 17 to 24. We go to the next bank that's 25 to 32. So you actually have 32 knobs. And then these midi keyboards have what's called soft takeover. And if you just look right here, we're just going to zoom in right here. And so what that's gonna do is when we go to the different banks and I'll just use this knob as an example. You can see that I'm moving this slider right here. It's still moving, but there's a little bit of a grayed out part and I'll try to zoom in a little bit more. But you can see that there's a great part and then there's here. And so this is what's called soft takeover. So in order for this midi keyboard to work, and I'm now I'm just going to pull back so you can see my knob. So once I reach that, now the, now this knob kicks in. Now you can actually see the numbers moving. If I go to another bank, you can see that when we increase and decrease this, the little grayed out part right here, it's a little bit of a different color. You can see that the 38 is not moving until we reach what it was previously on the other bank. And there you go. Okay. So don't worry, I'm going to break down everything you need to know for how to get hands-on mixing here in FL Studio. It's a really, really enjoyable workflow. Again, I am going to be focusing on fab filter plug-ins because that's what I use to teach. You do not need fab filter plug-ins because the approach is going to work for most plugins. Every single plug-in is just a little bit different. But yeah, I really think you're going to get a really good fun experience in FL Studio if you want the hands-on mixing. Now the con of this is these are not motorized faders, and that's why you have to use that soft takeover, which I just showed you. And most midi keyboards have that built-in. Again, this is the M Audio oxygen pero. You do not need this midi keyboard, but that is just for you to know as we go along in this course. So if you're interested in roll, and I will show you how to set this up inside the course. 2. 1-1 - Hands-On Example: So before getting further into this course and talking about how to set everything up, I just wanted to first show you a little hands on workflow. And just for you to see like, oh wow, I really can see how that can help. So again, I, I'm gonna be teaching you through the filter plugins in this course. So if I just open up the pro C2, this is a single band compressor. What makes it so powerful is you have different, different styles of compression built into the single one compressor. Which means I don't need to be opening up tons of different plugins. I can still open up this same plug-in. And if I want to be unique on a certain, a certain sound or whatever, I can select a different style of compression. So it really only have to learn one compressor and I still get different sounds. Now check this out. I can actually go through the different styles of compression from my slider. So watch this slider. You can see it's going from pumping to punch the bus to mastering. Okay, So this is all off of the midi keyboard. Now again, every single plug-in and is a little bit different. And in order to find out what you can setup with your sliders. And again, I'm going to break this down in the course. You just click up here and you go browse parameters. And so this is the FAB filter proceed to. And you can see these are all the things that we can set up to a knob and a slider. So only up to here, so host bypass, up to here to style. But what I want to show you is check this out. So my very first knob is the threshold. And if you look here in the top left, you can see it's blue. The blue is unique because it is called override global link. Now you can go link to controller, but that is only per project. Overall, global link means that even if you open up this plugin and a different project, new or old, you can keep using these settings and this is why it's so powerful. Okay, So check this out. The next knob is the ratio. The next knob is the attack. The next knob is the release. The knob after that I have as the knee. So again, this isn't gonna be a mixing course in a sense of teaching you how to use a compressor. But I will fill you in as we go. So the knee is essentially if you want to be more into the body of the audio or if you just want to hit the peaks, OK, So Check this out. If we were, let's say mixing this piano. Again. Now we have two hands with a most you're restricted just to one thing at a time. And so you can really get the hands-on mixing that you always see in the studio. And you can really start hearing what you're doing. And that's why I just wanted to create this course and share it with you because it's really so powerful. Now again, every plugin is gonna be different. And I'm just going to again show you off the fat filter plugins. I will be creating a video about some common FL Studio plugins if you want a similar workflow, but I can't promise you're gonna get the same workflow. Okay. So let's say we go back to that knee. We have the knee here again, I'm using my knob and you can see it's moving right here. Okay? So depending on the sound that we're working on, let's just say, let's say we're a little bit more aggressive on that ratio. Let's say we want to just hit the peaks. So we just kinda dial back a little bit and then we can hit, hit our threshold and look, I can do two things at once. All right. So I'm just gonna kinda keep walking through. So again, that is the knee. This one here is the hold. Now, actually you can see that the hole is a bit choppy. So if I right-click on that and go override global link, I actually didn't have smoothing on, so I actually want that enabled. I'll go accept and you can see it's much smoother now and I'll break all this down for you. Don't worry, it's not too intense. This one is that the look ahead, but one thing you can notice is it's disabled like it's grayed out compared to these ones. But watch this, if you right-click, you can, you know, not everything is as automatable like through an Albert slider, but in this case the pro C2. So again, I'm just going to right-click the look ahead. You can see I haven't checked off and I have it too. Slider. And again, we're also going to talk about the mapping formula just a little bit. I'm not an expert on these at all. I was just playing around with it to fine tune them and I'll share what I discovered as I went along. Okay, so this is called your Global Link settings, and this is the mapping formula, okay? So you can be putting in different numbers here to get different setups. Now, what I wanted to share with you was with the output. So again, I had a special mapping formula there, which is kind of a little bit funky, right? But what it's allowing me to do, and also I don't have the smoothing on which I usually like the smoothing. It looks a lot. It just looks better. So you can see that when if I go full, it allows me to go to plus 11. And if I put it to the bottom, I don't have any it's always not giving me any volume. So if I go up, it gives me a boat plus 11, give or take. Again, your midi keyboard is not perfect. K, That's one thing to keep in mind that they are a little bit cheap, but you still get a pretty good experience. But what I'm trying to say is when we are using compression, right? We using the threshold, the ratio again, if you understand how a compressor works, right, we are reducing the volume of a sound. Therefore, we want to use some makeup gain, right? And so I just have it like plus 11. And maybe I just want it like a plus four. And I have it just so I can fine tune. And then check this. So off, on, off, on. Do you see how it's going red? So this allows me to quickly mix and get the hands-on, often unfair volume comparison. So watch if I right-click and I'll move this up just so we can see it. So again, this is the on and off knob. If you are using fab filter plug-ins, it's highly recommended to use the often on here, not the often on here because this is ethyl Studios often on. This is fab filters own built-in off and on. And they have special code to prevent kinda glitches and pops when you're turning it off and on. Okay, So this way I just right-click, go override global link. And you can see that I've set it up just like this, and I'll break all this down for you and why I've set it up. Okay, so again, I can turn this compressor often on and let me just hit play and I'll play with this compressor and I also have it set up on the EQ as well. So check this out. We can go left and right, we can go up and down. We can adjust the Q, K and make it tight. And the pro Q3 even allows you to do the dynamic. So let's just make this a little bit smaller. So it also has the dynamic compression, which you can see I can do right here. And all you have to do is you just right-click any of these things and you go overwrite global link and you set it up. And because you have the different banks, you go to your different banks. Now, the next bank is actually the second one. So right now it's orange. It's controlling the green band to go to the next bank. You can see that now it will be controlling this band. And it's this, I set up the exact same way in a sense of up and down, left and right. If we want to narrow a narrow or wide Q. And again, I have the compression. And so let's just hit play, and I'll just give you just a quick little example. So here is this track is called piece for my family. It's a pretty powerful little, a little b. So we're gonna go to this, this piano. And again, so I can fine-tune this Pm however I want. So this pianos bit loud. So again, that's where I can turn down the volume again. Look right here. That's the master volume of this compressor. Switch. If you turn it off, turn it on. You, I need a little bit louder. Now, check this so we can really fine tune our attack or Elise whenever we want to do to get hands on mixing more aggressively on the ratio. I open up the attack maybe again, I'm not saying that these settings are good, but I'm just showing you that this is what we can do with hands on mixing I can do to look ahead. I can do the whole eye. Can we even have the range? So in other words, it's just not allowing compression to happen as much. Kevin kind of dial it back. Now, every compressors different, but this is why I suggest the fab filter plug-ins because you can see that we can access pretty much everything when it comes to compression with our audio, with our piano. Super, super powerful, right? If I load up the EQ here, you can see that I have the very right knob to change the type of bandage is. And again, you just right-click and go overwrite global link. And you can go through all of these different shapes when it comes to your band. So if I want a high cut, if I want a notch, if I want a bandpass, again, it's a little sensitive, so I just got to move that knob slowly. But yeah, you can get all the different bands, shapes, whatever you wanna do when you're mixing your music. Again, we have the dynamic EQ. I have it set up where I can do upwards and downwards. Again, this is only towards the pro Q three. So this one here, this knob right here, I have it set up where I can adjust how aggressive I want the slope to be. Alright, So for example, I even have the pro Q3 set up that if I want to create a band, again, we can only do four bands off of this because we have four banks. And that's just how I have it set up. I just selected one bank per band and it allowed me to get really, really customizable when it came to the pro Q3 here. So right now I have three bands, which means that this one is the green one, right? So bank one is the green one. Bank to, I guess is this blue one. Bank three is this purply pink one. And if I want to create a band, I can just move this knob and I had it set up where you can see that now the red one appeared and I can go up and down. Okay, so again, this is that soft takeover and this is where you'd have to look at your screen. And then now once it reaches a certain value, then it works. Okay? So again, you're not getting the best experience as if like you're at a real studio. But this is a really, really good mixing experience. And you can get hands-on with two hands. And again, you can. So this is just like the EQ. I'll show you one other one I have here as well. We'll talk more about this later on. And I just created a special one inside a patcher because this is the pro and B. And so how I like to use a multiband compressor is I like to adjust each band the same k. So you can use multiband compressor however you want. Like for example, if you just wanted to use one band, right? So if we just delete these ones, if you wanted to set it up this way, you totally can do that kind of stuff. But what I like to do is again, because this is in patcher and I'll talk more about the pro MB in another video. But you can see, Watch this. I can control the threshold, the ratio. So again, the knobs aren't laid out the same way. So you really gotta read and i'll, I'll just do this so that we can see a little bit better. Okay, so we have the threshold, the range. Now the range again is really, really powerful because it just determines how much compression happens like so even if we're really, really aggressive on the threshold and the ratio which is down here. If we're really, really aggressive, the range only limits us to a certain amount of compression, which is really, really powerful, okay? Also the proceeds to have that built-in as well. But you can just see I can do it the attack, I can do the release. Now, again, this is doing it for every single one and this had to be done through patcher. And it is created just like a little setup like this. And I'll show you what I did further on into this course. Okay, So again, this was a little bit of a long video, but I just wanted to show you it's powerful. Alright? And I just, again, I really think this is course worthy to teach you guys if you want that hands-on experiences, how to FL Studio. This is something that I've always wanted and I finally took some time out to learn how to do it. And it really allowed my mixing to be way more fun to get more hands-on. And really listen and try to find the sound I'm listening for rather than my mouse always. The most is by far the easiest way to do things in FL Studio. So when you're doing this, one thing I will talk about in just a moment in an upcoming video is I always talked to you about a and B, and I talk to you about copying and stuff like that. But you'll notice Watch this. If I move the slider, it doesn't allow us to go back. Watch if I open up a new instance here. Okay, so this is a brand new compressor. I just opened up on the piano and let me just bring the piano over here. Sorry, I space is a little tight here. Okay. So if I want to move knobs and stuff like that, you can see that it actually doesn't register it as a mouse movement. And so that's one thing. That's actually a huge drawback towards this approach. Another thing I couldn't get to work is the a and B. You can see I'm right-clicking and nothing's popping up. But whereas if I watch even the oversampling, you can automate the oversampling. Or if you wanted to automate the look ahead, you can automate the look ahead just like I showed you before. Watch if we have the look ahead look look aheads on, look aheads off, on, off. I even have it set up where again, where I can go to the different styles of compression. It even has an auto on and off and you can automate this. So look, I have auto on, off and then I think I even have the, So that's the look ahead, that this is the auto gain. So sometimes these plugins have auto gain, which means that when compression is happening, it's helping compensate for you, which is really, really powerful. And then you can just fine tune. Again, look down here at the master volume. You can fine tune and then turn it off and on. So when you're mixing, you can get a really fair volume comparison. But there's some things which you've just can't automate. And I even reached out to fab filter and it's not possible. So that kind of sucks because I always like to do a and B comparison. But that's just one thing to be aware of that when you are moving your knobs and sliders, the fab filter plugins do not register it as a most movement. So watch if I delete this loaded up again and I get, I'm going to stress this again in another video, but if you've made it this far, I just want to share that with you to be aware of. So you can see I'm moving any knob, any knob, any slider off my midi keyboard. And we're not getting a before and after. Okay, watch if I move my mouse. Now, we've got a before and after. So watch, boom, boom, boom. Okay. So that's it for this video. I just wanted to show you the hands-on experience that you can be getting with FAB filter plugins. I even have this set up with the pro L2, where again we have the gain. So this is actually often on and then this is the gain. Alright? And with the fab filter pro L, it has a really cool one-to-one feature, which means that as I'm increasing, it's actually decreasing the output, which is very similar to if you hold on Alt, you can see it. You see how it's moving the output and the input at the same time, right? Because I'm holding on Alt. Again, always look in the bottom left. You can see my keyboard shortcuts. So this is really important because for example, if we hit play here and this piano, let's just turn off my Effects I did there. So if we're mastering this track and we want to listen to limiting, so I would be increasing it like this. And we can listen to how our peaks sound being limited and a fair volume, because you can see it's increasing the volume and decreasing the output. And we're getting some limiting going on. And we can go before and after, right. And so all I'm just trying to share with you is I even have this setup where I can just enable this. And again, I can right-click. You can see I can right-click and I have that set up as a slider. And so let me just find that quickly. So let's just see here. So again, this is the this is the main volume. This is the on-off. I've always tried to set these two up the exact same from plugin to plug-in with these fab filter plugins, this is the volume, this is the on and off. That way you can always have your hand here to go on and off. And you can adjust volume. Very, very important for workflow. The next one is, again, there you go. That's one-to-one. And that's really important because if I want to hear that limiting, I'm good to go, then I probably set up the oversampling and other things too. We'll talk more about that in upcoming videos. But there you guys go. Hands-on mixing experience. Keep watching. I'll show you how to set it all up again. 3. 2-1 - Backing Up Your FL Studio Mapping Settings: Alright, so the first thing you need to do before you do anything regarding this hands-on and global linking is backing up FL Studio. And I'm going to show you how to do that. So for me personally, I use what's called the stream deck. And I have FL Studio set up all within here and it's super powerful. And so I have one called mapping FL Studio. And we'll just pull this up right here. And so this is the file that you want to back up and where this file is located, it's located in your documents. This is both for Windows and Mac. You're going to go to Image line. You're gonna go to FL Studio, you're gonna go to Settings. You are going to go to mapping. Okay? It didn't generic, it's in local, and there you go. Now, this file is different for each midi controller I believe that you use, okay, and if we open it up, you are going to see that FL Studio stores it all in what's called XML language, okay? And again, you don't have to look at this at all. But if you are having some problems in terms of some routing or whatever, this is where you can fix it. Fl Studio does recommend to like not really touched this because it can get really, really messy. But just one thing to note is this is just essentially code. And whenever we're talking about code usually has an opening and a closing tag. You can see the closing tag has that forward slash. That's all I'm going to talk about though. But I'm just showing you that this is what you want to backup. So if you have that custom music folder, which I always talk to you about, and if you don't check out my course, It's called a specific music production folder. This, you want to take this and you want to copy this somewhere and back it up. Because what happens is if you get overwhelmed or if you have too many things set up and you're just like, Oh, they get you write this. If I delete this, okay, I will delete this right now. What we will do is we will go into FL Studio and what you have to do is you actually have to close FL Studio. And then we have to reopen FL Studio. Now when I go to move a slider or a knob or anything, right, you can look in the very top left here and it's green. So green in FL Studio means that the, the actual knob or slider is not mapped to anything. Okay, whereas watch this. If I, so right now if I look in here, we don't have that file that it said port something, right? We don't have that file anymore. But if I right-click and go over our global link and this little window pops up again. I usually like to have smoothing enabled because I'm going to show you what it looks like without smoothing. So all you have to do is just move any knob. So whatever knob that we want to set up to this threshold. So for example, the threshold, I right-click it, go override global link. And if I do this without smoothing, you can see it looks like it's like my computer can barely even handle it. But my computer is pretty powerful and so it can definitely handle and make it smooth. So all you do is enable smoothing and now you're back to that nice kinda look. You can play with the smoothing. I don't suggest it. And the reason I say that is because usually in FL Studio, if we move a knob a certain way, you can right-click and copy the value, right? And so what I'm trying to say is if you go over I Global Link, you are not able to right-click on it to copy the value. You can see on the bottom left, I'm right-clicking right. So left-click, right-click it, so it's doing the same thing, so we're not able to copy and paste that value. And so watch, I'm just going to reset that. I'm going to enable smoothing and I'm just going to move this knob. And now we get a nice smooth feeling. Okay? But the thing is what I was finding when I was mixing is a bit sensitive. And that's where I'm going to talk to you about the mapping formula. So if you want to edit what you've done, you just right-click on it and you go override global link. And then this is where you can adjust it differently. So here's the mapping formula. You can click right here. And here's a whole bunch of different ones that you can look at to get an idea. Again, I'm not a professional when this is like heavy math stuff. I will show some examples of what I've done. And I'll just do it like this just so you can kinda see some of those a little bit more. But again, you can select the different ones and see what they look like. But one that you may want to look at is inverted. So for example, if you want the knob or the slider to go in the opposite direction. So for example, if you want up to be off and down to be on or something like that, That's where you just go inverted. So I just went inverted. So this is the default. And one thing to say. So watch if I just go inverted and I'm just going to copy that. And one thing I'll share before we get into the mapping formula later is if we type in something like that, you can hit Enter. And what it's gonna do is it'll show you what it looks like right here. And then it will also tell you if it accepted it. It compiles. Okay? So for example, watch if I use the slider or this knob. So if I'm going left, you can see it's actually going right. Okay, So again, it's just inverted and I right-click it. But in this case, I would want it to be like just, just like the default, I just went default. They're going to have the smoothing on. And that allows us to get that nice look. But what I will show you in upcoming videos is when I'm using a compressor, I'm usually never going down all the way to minus 60. And so that's why I use the mapping formula because it probably around maybe 48. That wouldn't be too rare. And if I'm using a super low threshold, I would also be using a super low ratio or something like that as well. Okay. But very, very rare would I be going minus 60? And if I would, that I would probably just use my most for it. But generally when I'm mixing, I kinda liked it from anywhere around here to maybe around, maybe like minus four or something like that. Minus four would be for like maybe a really extreme situation where maybe I'm being really aggressive on my ratio. But all I'm saying is in upcoming videos, I'll show you how to fine tune this knob so that you can kinda limit the range. Okay, but now let's look at this port and you can see that now I have set up one knob. I'm going to right-click. I'm just going to open it up. And you can see that it looks like there's a lot to it. But really I only have one link swatch. If I close this, we only have one link. And that was just the one knob that I set up for the threshold. There was this one. Alright, let's just open that up again. So again, whenever it comes to this, There's an opening and a closing tag. Now, FL Studio does this for us. We do not need to do this. Okay. I highly suggest that you do not do it. But what I'm trying to tell you is we want to make sure to back this up. So right now this one is the bad one and this is the one that I just kinda quickly set up with you. I'm going to delete this. If I drag this in, you can see FL Studio doesn't load it in right away. You actually have to close FL Studio. So let's close FL Studio. I will reopen FL Studio. And now that I have my good one loaded n. Now we can see when I load this up, we can move our slider, it's blue. We move our ratio is blue or attack our release. So this is really, really awesome. Now, again, you're going to want to take some time and figure out what's your workflow. And over time you will discover the way you like to work. But it's really important that you keep a backup of this so that if you screw up, you can just come back at a certain time. And that's really going to help you. So just make sure to store this into your custom music folder. And then if you want to set up your knobs and sliders, which I'll show you in another video. But you can do it up here. You can move this one, this one, and you can right-click and go overall global links. You can do one at a time, nice and fast. You can do it that way. Or honestly probably when it comes to this global link stuff because it's a little bit more potent array. In other words, that once you set it up, it's across all your projects. You would just right-click and go override global link and then just do what I showed you there is you would just move it an example. You can see that this is the mapping formula. So I kinda set it up different. So what this is saying is that if my mouse is right down here, this is absolutely 0. So this is like that, minus 60, for example. But because of how I've set up this, this number here, we're saying that, okay, I only want you to go down to like maybe minus 40. And I will, we're actually going to see, so if I turn it all the way down, you can see I maxed out at minus 39. So at the moment that's kinda where I like it. But over time sometimes I as a mixing, sometimes it might Dino, I'm going to adjust that a little bit. And so what I would do if I want to adjust that, I would just go like minus 0.5. And if I hit Enter, you can see that it adjusted it up there, okay? But I guess it's back here, so 0.3. So you can see that now it will go a little bit lower. So it was 0.35, right? You can see it went up. So if I go 0.3 and if I go except you can see that our threshold pinging, I'll go a little bit lower than 39 now it's 42. So I am going to put it back to the way I had. And I just wanted to show you that just so that you can kinda see what's going on. So when you're putting your numbers in, you hit Enter, it, compiles it for you, and then you're good to go. Okay? So as you can see, I have a limited range from minus six to minus 39, which is quite adequate for mixing your music. If you want to go a little bit lower, you definitely can. Let's just look at the ratio here. You can see I also set up some mapping formula in there. Again, you're maybe just to not be as aggressive in certain ways or I'll break that down as we go. So again, this video was just making sure you keep a backup of this. It's just going to allow you to be really, really aggressive and figure out how you want to work inside of FL Studio. And then again, in order to load that, you do have to load it in close FL Studio and reopen it. Okay, so that is just backing up this FL mapping file. 4. 2-2 - Understanding Your MIDI Keyboard: Alright, so again, if you didn't watch the introduction video to this course, I'm just going to break down how a midi keyboard works. When it comes to FL Studio, how we find our parameters, and just kinda like how it all works. Okay? So again, a midi keyboard has no sounds in it. Alright? When it comes to our knobs and sliders, it is just like a number. So it's a CC number. And as you can see, if I move this right here, it says knob one. It's in Bank one, but really it's sending out a different number than that. And if I load up the audio preset editor, when it comes to our knobs and sliders, you can see that it's actually a CC number. So for example, this one could be C7 or CC 71. Now this software right here is pertaining just to this M Audio oxygen pero, not all midi keyboards allow you to, allow you to set up the knobs exactly how you want. So sometimes you are kinda stuck with how the company has set it up. But what makes the oxygen Pro so powerful is that it comes with this preset editor software. And you can actually set up any knob the way you want. Now one thing I do just want to quickly share with you is I just typed in Midea.org CC lookup and I click this one right here. It's always nice to go to the actual official website. There's tons of other websites which have just copied and pasted what they did. But this is the midi website, monday.org. One thing to mention is that when we have the different numbers here, this is essentially what these different uses are for these knobs. Okay, So for example, like if we're talking about, let's say 11 or 12, these are already set up parameters which are common towards certain things. But you can see that there's ones like undefined, like 14, undefined, undefined. All I'm trying to say is best, quote unquote, best practices is to set up the midi keyboard to undefined values. So which means that you will never conflict because developers have to follow this kind of lists kind of thing, right? So this is the reason that there's the list. And you can see that if we keep going down, there will be like, for example, general, General Purpose or undefined. Those are the ones that we can technically use. You want to try to take advantage of them as much as possible. But if you were to end up using one of these other ones within FL Studio, I really don't think that you're going to run into problems where that where do you might run into problems is like for different equipment or a different dog. Okay. I just wanted to get that out of the way. And with this oxygen Pro, I actually have 123456789 sliders. So again, if I go to the next bank, then it goes to the next bank of nine sliders is the same thing with the knobs. This just lets us, when we are getting hands-on mixing, it allows us to control different parameters off of different banks. Alright, so again, we have a 32 knobs. 36 sliders, allows you to get a really, really good workflow. Now inside FL Studio, there's a couple of things we got to talk about. The first one is understanding that each plugin is unique in a sense that 11 plugin might give you a really good hands-on experience. And then another plugin may not give you as good of an experience. Okay? And so for example, let's just load up a stock plug-in just for you to see. So let's just go the parametric EQ to if you want to adjust any of these tests. So why should we just right-click any of these? And you would go override global link and you can set it up that way. Now, another way to do it is if you can't right-click the actual knob or anything like that. Or if you want to try to find something creative to set up your knobs and sliders to. You just go up here and you just go browse parameters. And so as you can see, we have band one, band two level. Now, usually it's kinda nice if they would have had banned one all together. But you kinda gotta look a little bit careful. Okay, So we have band one level and so watch if I right-click and we go. So watch what I will do is I'm going to do this. I'm going to bring this over. I'm going to copy it and I'm going to delete this. And I'll close and reopen FL Studio. And I'll just open up the EQ here. And so again, we're just going to click up here. We're going to browse the parameters. And again, if you wanted to go with a band level, you just right-click. Now again, my suggestion to you is if you want to set up this hands-on mixing across multiple projects. So for example, a new project or an old project. And you want to get hands-on mixing no matter where you are in FL Studio, that's where you're going to do the overall global link. I will talk about this in our next video. Okay, so let's just go over our global link and I'm just going to get smoothing as nice. But again, you can do level there. My suggestion to you is to try to use what you can visually see for the best experience. So for example, when it comes to this band, or I'll move it over here so we can see it better. I would right-click here. If you want to move the frequency k, go smoothing, we're gonna go like this. And now we can go into go left and right and up and down if you want to adjust your cue. So for example, let's just put like that. You want the queue, you go over overall global link smoothing. And so now we have up and down. We have left and right, and we have the queue. And so watch if I were to close or open up a new instance. That should be stored into the pyramid to EC2 and that's called a global link. So watch, I'm just going to move it and we can't actually see it moving there. And I'm going to move the queue or the band over here, and then we can adjust the q. Okay? So if I go up higher, you can see that the tighter, right? And so that's how you find your parameters. So for something like the FAB filter plugins and I will make a separate video coming up here, like specifically just for the fat filter plugins and then specifically just for the FL Studio plugins. But I just wanted to show you what's going on so that you kinda see what's going on, okay? But all you have to do is you just select any plug-in. It doesn't matter if it's fab filter plugins a stock plug-in, or if you'd like different third-party plug-ins, you just click up here, you go, browse parameters and you can see that it has everything available to you. So sometimes something that you like if you can't see something on the screen or if you can't right-click on the screen, this is where this comes in value, tons of value. But in this case, what I did was I get, I want my threshold, I adjusted enabled smoothing. We move the knob and what the ratio we enable smoothing and I move the knob, okay, so now we have threshold and ratio setup and that is set up. But again, if you look here because I deleted and I brought, and I just, I'm creating a new mapping, one with you right now as I'm speaking. And as you can see, so the threshold works, the ratio works. It's blue. But now I move the other ones and they're not working because before I showed you, I was I had like the nice setup. And when I set up these knobs, I just kinda try to think, how do I want it set up in terms of real mixing? So I'll just, I'll focus on these first four knobs. Okay, So when it comes to mixing, right, we have our threshold while that makes sense because it's the first knob, our ratio, that's probably the next knob that's most important, right? Threshold ratio. Next one. I put it as attack because we have threshold ratio attack. And then the next one was released. And so now we have threshold ratio, attack and release. There you go. That's how easy it is. Now again, look in the top left, we see it's blue. And then the ones that aren't set up, you can see that they are green. Okay. Now, again, so that was just a little overview of your midi keyboard. So now watch if I go to another bank, you can see that it's going to be green. Because now this is essentially a different knob. And if we go to that preset editor, you can see on bank one It's C7, but on bank to its CC 78. So it's actually a different parameter. And so that's just how it works. Okay? Now again, this right here is just like a default. So for example, if I'm on bank one, again, don't look at the colors. Just imagine more on bank one. Okay? So imagine bank one is C7. We go to bank two. Now, it would be like see C7, C8, for example, this knob. So it's no longer see C7. Once you understand how that works when you have your different banks, is essentially if you just have a different knob in the same location. And then again, we just have to be looking at, we have to be looking at that soft takeover. So again, you can see right here that in order for me to use this knob, it has to reach this a value. And if, see, if I don't reach it, it's not going to work. If I load up FL Studio, you can see that it is not going to work. Okay. So let me just do this, close out of this. So look in the top left, you can see what? I'm moving this knob. And you can see that it's great up to there, but you can also see it's increasing rate. So sorry. You can't see my knob at the moment, but you can see that it is increasing. Okay? You just got to believe that moving the null Hub. So it's down and then now it's up. But you can look in the top of FL Studio and it does not see the NADH being moved. So you actually have to reach this value in order for the knob to kick in. So watch, I'm, I'm so close and watch, I'm gonna do it right now. Now. You can see, look, look up there. So now it works. So that's what's called soft takeover. And if I go to the bank over, you can see that. Okay, so let's just go back. So you can see that I have between the various 0 up to 37. So I have to reach the value of 37 in order for it to kick in. Now because I'm on bank to which you can see by the blue pads. And if you look up here in FL Studio, it's going to be green because I don't have that set up. Go to the bank before you can see it's going to be blue. So blue color the next bank, it's green because it's not set up. Now. Let's just set it up to let's say the heart, the knee. But again, usually I like to try to set everything up on that one bank. So as you can see, this is all orange and I'll just pull back a little bit so that it's easier to see. So now let's just say we, on bank two, we're going to move this knob. And so now we're going to bank one and it's blue, right? Twerking. We go to a bank to you can see that now the knees there. But again, I would not suggest this because now you have two goes between two banks to be using this single plug-in. Something like the EQ. If we load up the parametric EQ, or sorry, the fab filter pro Q3. So something like this. I tried to only use one bank per band because that allowed me to get the full features of the pro Q3. So for example, in order to create a band, I set it up and I'll show you that just quickly, but I will show you that in the upcoming video. So watch browse parameters. It shows us everything that is pertaining to band one. As you can see, it's a little more organized. Everything's band one, and this is everything that we have pertaining to a single band. Okay? Now, even as you can see, if I'm going up, you can see that it adjusted different things. They're just doing it for us. But you can see used, okay? And so if we want to create a band, because with a mouse we just double-click that creates the band right? But with a midi keyboard, you can right-click the used car override global link. And for example, if we want this knob, you can see that it will create the band for us. Okay? So one thing you have to be focused on the plugin window, okay? So watch this. Boom on. Now if we wanted to get hands on. So again, I click here, we go override global link, we want smoothing on, right? You want to adjust the frequency is the next one, and move it over. And then let's just quickly do the Q and we'll do that. So I'm just going to move to the next. Okay. So watch. We have up and down, left and right, and then the tight queue. I think I actually had it the other way. I think I did it. And I'll break that down in the next video. But I think I did it this way. And then this one was the up and down. And again, see no smoothing. So you won't have this smoothing on. It looks way better. But what I'm trying to say is I liked, in the case of the pro Q3, try to just do one bank as much as you can based off of what you're doing. If you're having to go over to two or three different banks, it really slows down your workflow. But in the case of the pro, pro C2 again, so we have the threshold, we have the ratio, we have the attack, the release, and then whatever else that would be in your workflow order. That's what I suggest to you. So for example, if you want that knee going to right-click it after the release, we are I would maybe go like the knee or something. And again, you can see it's kind of choppy. So again, I didn't do the smoothing. Okay. And again, I wouldn't suggest moving this smoothing, just leave it where it is and everything will look good, okay? So you can see this looks way better. And there you go. Alright, so again, that's just your midi keyboard, that is your banks. That is how to find the parameters. You've got to be focused on the window. That's where global links is unique. So if you're using linked to controller, which is called a project link, are going to talk to you about that next. It doesn't matter, even if you're not focused in the window, you'd still be able to move your knob and slider. So watch so you can see it's green because I'm not focused on the pro Q3. If I'm focused on it now it's blue. So that's one thing to keep in mind. The window has to be focused. So if I remove that, you can see watch, I can add that band back in. And now we can get back into their hands on mixing. Again, I like to always have my off. So let's right-click that off. So you can see off, on, but you can see that this is opposite. So watch, I'm just going to do this. See, up was off and then down was on. And so that's where again, I'm going to talk to you more about the mapping formula in just a moment. But that is where I would go inverted and watch we go up. So up I went on down, I went off. To me, that makes more sense. And then here where the master gain was, because again, you want to compensate Django smoothing so that that knob looks better. And I'm going to move that knob right beside it. Now again, you can see that if I go up, it's like plus 36, like that is a huge number, right? Like if we're doing EQ before and after. And so that is where I was starting to use the mapping formula stuff. So again, this mapping formula just allows you to fine tune the slider or the knob, essentially adjusting the range. You can get way more complex like with the knob, like what you wanna do in the mapping formula. But I just kinda set it up to limit the range. So for example, if this is 0 to 100%, I would put maybe like 20% to like 60% or however you want to set it up for that particular knob for whatever you're doing. Okay, so in this case of this master, you know, like probably, I want like maybe 12. And the thing is, you can see that the slider, let me just zoom in on this quickly. You can see that the slider is full. Okay, So what I'm trying to also say is if you set up the mapping formula, it allows you to limit your range and it allows your slider to be more precise. For example, at the top would now be 12. And then again, if you want to limit it to minus six, and I'll break all that stuff down for you. But it's just really important that I explain this stuff to you because these are the things that I discovered as I went along. And if you just have the knob and the slider as full, you're not gonna get a very good experience like you're never going to want to decrease by infinite, right? Okay, so let's hop to the next video and I'm going to talk to you about link to controller and overall global links. Okay? Really, really important to have your head wrapped around that concept. 5. 2-3 - Project Links vs Global Links Troubleshooting: Okay, so before watching this video about project links and global links and going further on into the course for troubleshooting, it's very important that you understand the different colors if you look in the top left, right here, okay? So the first thing is if you're moving a knob or a slider and you're not getting any information here. It could be either because a soft takeover, which you'll learn more about in this course, or it's because your midi keyboard is not enabled. So you can see my midi keyboard, I clicked it when enabled. Now if I move the knob, no color means either soft takeovers happening or your midi keyboard is not enabled. If you are seeing green, that is good. That is saying that your midi keyboard numbers slider is being detected, but it's not linked to anything. Okay? Now when you see orange, orange is a project link. We're not using these in this course, but I just want you to see that when we see an orange color, that means that it's a project link. And what happens with the project links. If you click to a different window, a project link will still work. You can see that the channel rack is not focused if I click the channel rack, so it's still going to work no matter what. And a project link is orange. Okay, go to reset that. Now let's say we right-click and go global link, which is what we wanna do in this course. You can see that it is blue. So blue is what we are wanting to see for a global link, but we have to actually focus on the window. If I click onto the mixer, you can see it goes green, that same knob, because I have to actually focus on the window. Now, if you right-click and you go Project link, it overwrites the global link. Okay? So watch, I'm going to move that same knob and you can see it's going up and down right here. But I've even have a focus on the channel Iraq. I can't get that global link back even though it's linked. So look at this, you can see in the Global Link settings, so 79 is that same knob that I'm using as the global link. We come here and right-click and go link to controller. This is the same knob that I just used on 79. But because the project link takes precedence over the global link, that's what's happening. Okay, So I'm moving it. This is the, again looking at the top-left, that if I do my mouse, you can see it doesn't do the orange and the top-left. But if I do my knob, you can see it's orange, that's the project link. So I'm going to right-click, I'm going to reset that. That is how you reset parameters. Okay? So with that reset, again, I'm focused on the mixer. If I move that same knob, it's going to be green because it's not linked to anything on the mixer for a global link, but it is still linked to that volume knob on the channel rack. So if I focus the channel rack window, now it's blue. Okay, so just a quick recap before we get into this video. So if you are seeing nothing up here is because either soft takeovers happening, you get soft takeover when you go through the different banks or your midi keyboard is not enabled, you can come up here to Options. Or I always like the keyboard shortcut F ten, right? Just make sure it's enabled. If you are getting green, that means that your midi keyboard is sending information, which is good. And then if it's blue, that is a global link. By right-clicking going global link, if it is orange, it is linked to controller. Alright, so again, I deleted what we did to start fresh. So when I open up FL Studio here, nothing is set up. Okay, and this will just allow us to keep starting fresh and allow you to see exactly what's going on. Okay? So the first thing that I suggest to you is to look up for global links. And so again, this was the midi keyboard stuff. So I would go project links versus global links. And this will take you to FL Studio using a, using this. Okay? So you need to learn this because it's really important for you to understand. Okay? So a project link is, let me just zoom in here. And I will do just the monitor. Alright, so a project link is per session and it saved per project. That's really important to know. So whatever you are doing, like for example, if you want to have a knob or a slider setup only for that certain project. That's what a project link is. So if I go to FL Studio, we right-click here. You can see that there's link to controller, and this is a project link, and then there's global links. Now one thing to mention is global links. I think used to be called override generic links. So if you're using an older version of FL Studio, they made it now global link. Okay, so it's the same thing. Alright, so Project Lincoln, they have the highest priority and they override a global link. Let's really important to know that when we're setting up global links, if we want to get hands-on mixing, the project links, override the global links. But what I want to say is the project link is a per session and it has priority over the global link, which means that it doesn't matter if you have a window open and let's just get into it. Okay. Alright, so let's just load up something. Let's just, let's just mix it up. Let's go like FL keys. You can right-click a knob and let's go link to controller. Okay, So let's just say this overdrive. So I'm going to move a knob. And again, if you want to enable smoothing, I would recommend it because it just looks way better. Okay? So if I hit a key. Now remember, look in the top left, what do you see? It's orange. So this is a project link and swatch. If I click away into the playlist, you can see it still works. But if I right-click the release and go override global link. So in other words, we want, we want to set this up no matter what project we're working in forever, okay? Depending on this file that we're gonna be working with. Okay, so now what I wanna do is we're going to again enabled smoothing because it looks better. And we're going to move our second knob. Look in the top-left, it's blue, but watch when I focus on the playlist, it doesn't work anymore. But if I go to the first knob, which is a project link overdrive, you can see it works. So I'm still focused on the playlist and watch, so the release doesn't work. And you can see that it's actually green, which means that it's not assigned to anything. But as soon as I click on the FL keys is now blue and the releases moving. Okay? So that is the difference between a project link and a global link. A global link allows you to set it up over multiple projects. So watch this. I didn't even save anything in this project. And if I were to open up a new project, the release would work and the overdrive would not work because this is per project. Okay, so let's just go New. And let's just load up the FL keys again. Because again, how it works is you can see that they created a file for us. And if we look at it Just quickly, there should be one thing in there only. Okay. And it should be just yeah, it doesn't say any words that way, but it is for the NFL keys. And maybe like this parameter, maybe this is like the release or however it's set up for that controller, right? That plug-in. Just want to keep filling you in on this because it's really important. You can kinda troubleshoot. So like I said, this first knob, you can see it's green. It should be controlling the overdrive. If we right-click it, there's no checkmark there, but watch the release will work. Okay. And this is why when I was explaining to you about the fab filter plugins, if we want to right-click override global link, we want to move it. You can see it's blue, which means that we can get hands-on mixing, but as soon as we click away, it's not working. Okay, So that's a global link versus again, let's go to overdrive and I'll go link to controller. But let's use maybe this far knob just to kinda keep it different. Okay, So we have a project link, and again, it's orange. If we click away, it's still working. Okay? So again, that's project links versus global links. And again, now when it comes to troubleshooting, just really look at your colors. That's really going to help you identify. So first of all, if you're moving something and it's not working, That's the problem, okay, so you have to see something up here. Fl Studio really teaches you a lot. If you look up here, it doesn't matter if you are mixing your music. For example, if I'm hovered here you can see this is the panning. We're padding left, we're panning right? Look in the top-left. Wait, we have volume. It's the same thing when it comes to this midi keyboard stuff. So if I'm gonna move it up, you can see it's green. If I move the one knob, which is going to move, it will move the overdrive. You can see it is orange, so as a project link. And then watch if I move this knob, you can see it's still green because I'm not focused, but as soon as unfocused is now or should be blue or sorry, I think it's a second knob by bad. Yeah, so the release is global link. Okay? Now, if you are not getting anything up here, again, you could be on a different bank, right? And so you have to reach that soft takeover value. So just like we were talking about before, if we're going to move slider, you can see that it has to reach the value. So if you're looking up here, you're not seeing any light is because this is called soft takeover. It's when you have different banks. That's how they have implemented for you to use the different knobs. Otherwise, what would happen is as soon as you would move a knob, all your all your settings were just like jump all over the place. So again, I have to bring this down again. Look in the top left of FL Studio here there's no, there's no signal essentially being sent. Once it reaches, it's going to be green because that's the first knob. And there you go. Okay. So that is project links, which is right-clicking. That's a link to controller that's per project. If you save it, I guess it stores it into the FLP. The global links are super, super powerful. The global links store into this file right here. And again, how you access this file is you're just going to go to your documents. Okay? You're gonna go to Image line. We're gonna go to FL Studio is in your settings, it is in your mapping, generic, local. And there you go. Now I believe if you are going to be doing this over multiple midi keyboards, that I believe that you're going to have different files, okay, so that's just one thing to know. So I think that's it for this video, we talked about project links, global links, a little bit of troubleshooting. Again, just look up here always. And then also to enable your midi keyboard, you just got to make sure that your midi keyboard or controller is enabled, Okay? And you just plug it into USB, turn it on, you should see it here. You got to make sure that you click on it and enable it. And then depending on your midi keyboard or controller, if it's not working good, you can select a different device. Or if it does have a mini script or something like that, then you can also load it in if your device requires that stuff. Now in the next video, I'm just going to talk more about mapping and a bit of the mapping formulas that's going to show you how to limit the range. So for example, if we don't want it to go to 0, if we don't want to go to 100%, If we wanted to kinda be like this. But obviously the knob is going to be going all the way. But we just want to kinda want to limit the range. That's what we're going to cover next. 6. 2-4-1 - Mapping Formulas Tweaking [PART 1]: Okay, so before getting into this video regarding mapping formulas, I just want to break down some important things that you need to know. Again, referenced this video regarding the mapping formulas anytime I'm talking about them. But this is all pertaining to linking your knobs and sliders. Okay, here is how to backup your global links, but I already showed you It's just in this file right here. It's this one right here. Now, if you do select a different midi controller in FL Studio, I believe that it does actually create a different file for you. And if you are using different port numbers, I believe it will create a different file for you too, but that's getting technical. In other words, if you're using multiple midi keyboards are multiple midi controllers. I'm just going to keep it really simple because I just have one midi keyboard and we're just gonna go with that. Okay? So this is the main window that we're gonna be looking at regarding the mapping formula. But before we get into the mapping formula, I just want to quickly talk about what you're looking at. So I'm just gonna break it down what we need to know. The port number and the channel number is if you want to get into kinda funky stuff with multiple midi keyboards and stuff like that. So the port number we're not going to set the channel is gonna be number one for the control. That is what's called the CC number or the continuous controller number. And that is when I was talking about your knob, which is C7, T1, or CC 72. And if we have auto detect when we move a knob, it automatically puts it in there for us, but you can manually click and drag if you want. On the Omni, I created a bonus video for you for this. And then also I'll just below, I'll talk quickly in a second, but there's different modes if you want to get funky with how the knob actually operates. The internal controller is if you want to sit up like a automation clips and can I wrote them internally? There's really powerful things you can do with that. Here is the mapping formula. As you can see. It can actually get really intense. It's all to do with heavy math. But I just broke it down super simple for myself to get it to work to how I wanted. And then there is the smoothing right here. Now, let's just quickly talk about the mode and then one other thing as well. So again, this is all the information pertaining to the port number, the channel. We're just focused on this controller and the auto detect, okay, here is the area regarding the whole D-latch. So again, it just gets your knob or slider just acting a little bit funky. Or if you want like a key or something to be used differently. But there are some knobs which are what's called continuous. And as you can see, believed they talked about it right here. So it's called endless controllers. So if you have an endless controller, I believe they have some information here for you, but my midi keyboard is an absolute knob, which you will see further on into this video. And in this course, my knob has a beginning and an end, and I can't go less than the beginning and I can't go more than the end. Whereas endless knobs, they are always continuously moving. So you can look into this for that. Okay, So let's hop into FL Studio and I'll quickly break down how this works. Okay, so again, inside of FL Studio, if it's a native plugin, you can right-click. And this is how you can access the link to controller, which is a project link, but we are focused on global links. Okay? So you can right-click and go global link and set that up. And the window appears. If you are using a third party plugin and you can right-click, you're just going to move the knob and you can come up here to tools last tweaked. And this is where you can access that menu. You can also do it just by clicking right here and go multi-legged to controller. And this is actually a really powerful workflow. So for example, if you know that you want to set up decay release, overdrive, an LFO for example. Let's just move those. So as you can see, decay, release, overdrive, an LFO. Now, instead of just moving a knob, that's going to do project linked. But what you wanna do, global link. So if you right-click the multi link, you can go override global links. Now, what I would suggest is again, just enable your smoothing. And if you move the knobs now, you can see it's doing it for us now. I just missed that one, so I'm gonna go back to the release and I want the smoothing, but you can see it actually routed that number that go back to the decay and routed the numbers. So let's go to the overdrive. You can see that there's no number in there. So I'm gonna go smoothing to my third knob and then the LFO rate smoothing that novel care. So again, if I right-click and go override, you can see that because auto detect was on, assigned a CC number off of our midi keyboard, we don't have to worry about the port number. We don't have to worry about the channel. And then again, for the mode, I just leave it on the default. Otherwise you're getting into funky stuff. Now let's talk about the mapping formula just quickly. Okay? So when it comes to the mapping formula, my mindset was always, always trying to set it up in such a way that it just benefitted me for my mixing workflow. So let's focus on the release here. Okay, so for example, let's say we want to limit it to here and here or something. So I'm going to right-click and you can bring up the same window and you can adjust it later on. So as you can see, I actually don't have smoothing enabled. Their smoothing always just looks a little bit better. This is how it works. So input, I believe, is just like the value of your knob, like whatever the value that it is sending. So for example, if the knob is a bit to the right, it's sending that value. If the knobs a bit to the left, it's just setting that value into FL Studio. Now if you go, So we're going to just click the arrow right here you go inverted. It actually inverts it. So in other words, it's just the opposite. So for example, if you used a slider, down is now up, up is now down kind of thing. So again, if we click there, you can click these and you can try the different ones to see what they do. And they really allow you to work off of them. Before I get into that, I get, I just want to quickly say that on this window, you can see that they have a whole bunch for us. And again, this is getting into more technical math. You can actually even click here. And it will show you all the different types of like, I guess, variables or functions that you can use. It can get really, really intense. Alright? But for me, I just kept it really, really simple just to achieve what I wanted. And again, if you see any of these and all that's exactly what I want, then what I suggest is you can highlight it, copy and paste it in and then play with it. But you can see that we have this one and this one. These are these ones right here. We're really useful to me throughout the course. And I'll just break down that just quickly here. Let's say the release. So I'm going to right-click this, go over I Global Link. And we just wanted to limit the range. So what I would do is I would come here and let's just go maybe first half. And then so what we can, and then from here, I believe you can go plus, and then we'll go 0.5. Alright, so let's too much. So what I'm gonna do is let's put that to 2.5. And so that might limit the range. And then the first section of it, I believe just kinda does how aggressive it is. Like kinda like the slope. So what you're going to see that at the very right is going to bring it down. Okay, so let's just go back. I'm just going to select default. And so how this works is the very end of the line, is the very beginning of the knob case. When the knob is at 0, the very end of the line is when the knob is all the way at its furthest, okay, at its maximum value. And so if I click here, go first half and they get, and I'm just gonna go plus and then point or 0.25. And now you're going to see, even though my knob is at 0, it's actually probably about like twenty-five percent. So in other words, when my actual midi keyboard knob is at 0, then it can only put the knob to twenty-five percent of its value. That's the minimum value that the knob can go. And then the maximum value that the knob can go when I put my knob, my actual midi keyboard knob, all the way full is that's about 75% kind of thing there, right? So again, we can kind of adjust if we wanted to be more aggressive. Let's put that into six. So again, we can fine tune it, but first of all, I will just hit accept. I will move my, my, my knob here and you're going to see when it's at 0, it's here, when it's a full, it's here. So when it comes to the mapping formula, It's all about just for me, it was fine tuning it. You can get really, really technical that you can see you can do all these different things with sine and cosine. And, but that's really just wanted to quickly show you in regards to the mapping formula. Okay, So when we look at this window, don't worry about the port number, don't worry about the channel number. This number is important, but when we have auto detect on and when we move our knob, it will automatically assign it for us. Okay, Again, just look at it blew up here. So when it comes to the mapping formula, you just saw how I customize that and that is how I would suggest you guys approach it. Again, like I said, I'm not a professional with this at all, but it allowed me to get exactly how I wanted. So again, I would use something that they have already given, something like first half or last half. Again, this one was really useful for compression because as you can see, so 50% is essentially saying that the knob can't go past the middle point. So if I go to 0.25, we're saying that the knob, the minimum value of that knob can go is about twenty-five percent. But if I put it to this, we're saying that the knob cannot go pass its middle point, would essentially, if we load up the proceed to, you can see that the middle point would be 0. And that would be really good for compression because if I increase the volume, you can see it goes to a bolt like that plus 11. You can see down there, and if I bring it back, then it's a 0 k. So essentially watch if I right-click this one, you can see that I did not allow it to go past the middle point because with compression, if you're not doing upwards compression, because upwards compression you would want to reduce the volume because now it's getting louder. But with normal compression, which is reducing the volume, I don't want it to go past 0, essentially the middle position of the knob. Because again, that's middle, or we can go minus right? And if we look at the mapping formula, that's how it works. Okay? So now watch if you come over here and you go one minus. Now. So for example, it gets kinda weird. So what I would do here is article maybe 0.25. And so, nope, that's not what I want. So what I'll do is I'll put this to 0.25. Okay, so this is like the opposite direction now, and it put this 2.25. So let's put this, put this 275, okay? And we'll put this to like 0.1. And so essentially it's just the opposite directions. So the minimum value is on K and then the maximum value is just below 50%. So when it came to setting up my particular knob for the use case, this is how I approached it again, you can even remove the plus and that number and hit Enter. And you can just get different numbers, different styles, and I just hit enter. You can see it's kinda like that. Alright, and minus two, minus one. So let's go like a 0.75. And so what you could do something like that and put this to 0.5. So watch, I'll bring it back to five. And so this has limits it in this direction. Again, that's just how I approached it and it just allowed me to really, really work, really, really good in a sense that if I wanted the knob to be opposite, you can work with it that way. Or in this case, if I just wanted to limit the range. So 0.5. And so again, this is saying the middle of our knob. So when our knob is at 0, it's at the middle position. Watch I'll do this. So when an opposite 0, so my knob is all the way at 0 and it's the middle position when it's maxed out, we can get max. But again, if we are using the knob and we want to have it to the left a little bit and the right. Well then we can just bring that down a little bit with this. So I'll go 0.25. And then again, if you want it to be less aggressive, you can go to 0.25 or 0.75 and you can fine tune how aggressive you want that to be if that makes sense. So let's just go 0.5. And then right here, you can see that if I move that knob, I can go a little bit to the left and a little bit to the right. Okay, so again, I just wanted to quickly talk about the mapping formula before getting into this video. This is a good reference as you continue on throughout the course. Again, if you are right-clicking and you can't access them, you can also come here to the browse parameters and it shows you everything that you can essentially mapped to a knob or even automate. You can right-click. You can create automation clip. But again, we're talking about the global links in this course. Again, the link to controller is the orange one, which is just per project. But if you wanted to be able to keep mixing hands-on always with that plug-in, then this is what the global link is force. Let's get back into the course. 7. 2-4-2 - Mapping Formulas Tweaking [PART 2]: Alright, in this video we're gonna be talking about mapping formulas. Now. Again, I am not a professional at all when are like I don't really understand it fully. I'm the type of person where I just kinda keep tinkering. I keep entering in some numbers until I get it the way I want. And I'm just going to show you examples of how I've set things up and I think it's really gonna help you along. Okay, so what I'm gonna do is I'm going to delete the one that we just created there in the last video. I'm going to copy in the one that I have because this has all my built-in mapping formulas. Okay? So what I wanna do is I want to look at the compressor because this is just going to give you an idea, the mixing workflow. Now you go ahead and you set it up however you want. But what I want to share with you is again, because what I want to start with is actually the ratio, okay? So when it comes to compression, we want to be able to have a very, very low ratio, and we also want to be able to be quite aggressive on the ratio two. Now when I'm mixing my music, it's very rare that I go more than like this. And if I really want to, then I would use my mouse. Okay, if we want to get up to the limiting, because as they say, like ten to one is like limiting. But it's very rare that I'm doing that like am I mixing even 721 is pretty good or whatever. But you can see down here, I have 1.05 and that's a very, very light ratio. Okay, so if we are going very, very low on the threshold, we can get away with a very, very light ratio. And let me just show you how I set this up in my mapping formula. Because again, watch we put the knob all the way to 0. It's actually 1.05. But if I max it out, it only goes to seven to one ratio. And the same thing with the threshold, like I showed you before, minus six is the max and if I bring it all the way to 0, it's minus 39. Now again, you can go more or less depending on how you want to do it. But the ratio, I'm just going to right-click override global link. And so if we look here, you can see that this is the mapping formula. Now, you might look at it and be like What is going on. But watch, I'm just going to show you how you can fine tune it and get it exactly how you want. Because this is all I did. Because again, you can come here and you can select these different ones and you can kinda see how they've done things. But I think I really based it off of the first half and the last half. And then from there watched you just call it two and hit enter. And then you might go to here. And you can see that this one right here kinda limits how aggressive it is. So watch if I go 15, you can see that it's much more, much more gentle. Or if I go like 85, you can see it's going to go way up. Let's go 75 or something. So I'm gonna put back into one I had. And so you can see 0.05, that was that ratio of 1.05. Watch this. We're going to take this knob, the ratio one, because C 1.05. And if I take this, if I said, oh, well, let's put this to 0.25. This is essentially saying that the minimum my knob can go. So when I put this all the way to 0, this ratio knob all the way to 0. We're saying that this knob can only go to twenty-five percent. So watch you can move the knob, but usually I'd just like to hit Accept once the knob is already set up. So you can see that this knob right here is actually CC number 85. And watch if we come to this one, you can see that this one cc number 79, where this one is CC number 86. So this one was 85. Okay. So I'm going to show you now that the minimum that we can go on our ratio when I move this knob is, again, it's kinda like a percentage, but 1.3 is the minimum that this knob can go now. So it doesn't really so much work like that. 1.25, the 1.05 just kinda worked out that way. But again, it's kinda like a percentage up that scale. But when I'm mixing my music, 1.38, let's, we're kind of getting into a little bit of a heavier ratio. And especially when we're into mastering, or if we're just wanting to fine tune that sound. For example, if we wanna go right into the body and just be really gentle in that compression, 1.3 ache, be quite aggressive. So I'll just right-click. I come here and you're just gonna kinda fine tune what, you know, how, how aggressive or how much control you want over this, this knob. So again, I'm just going to hit Accept and now let's try that out. So I'll hover my mouse over it. You can see it's 1.17, It's a little bit better. But again, when it comes to mastering, I'm like even like 1.03 could be something that you could use, but I'm just going to put it back to the, back, back to the way I had it. And again in this case, so 0.7, if I put this 2.5, you can see that it's just going to lower down this one right here and it's going to make it not as aggressive. So in other words, we're still going to get 0.05 on the low end. But now we have limited our range in compression. So in other words, it won't be seven to one anymore. Watch it alone. We can only get to three. And so when we're mixing our music will typically I'd use like four to one or six or whatever, depending on the sound I'm going for and sold this to me. Give me a good mixing experience. Yes, I get a good light ratio if I'm in the body, but if I'm not hire, well, then it doesn't allow me to be very aggressive. Right? So this is where I would then fine-tune it. And I'd say, Okay, well, do you know what let's split that to 75 and let's just see what that does for us. Okay? So that one actually kinda looks almost like a max-flow actually, no, I think you can go up higher. So watch if we go to nine. Yeah. Okay. So see you can go up higher. So let's just show that because you're going to see that now we can go up way higher on the knob. And it is a 100 to one. So let's back it up. And let's put that to like 0.8. So again, this is all the I was doing when I was fine tuning. And it took me a little while to figure out a way I liked it. But once you get it the way how you want. So as you can see, this is the absolute max. I can go on my ratio nine to one, right? So maybe that would be really good for mixing and mastering. Okay, Now, the next one I want to share with you here is again the volume, the master volume, because I told you that when we are mixing our music, doesn't matter if you're using a compressor or an EQ, we want to be able to increase the max gain or the master gain of this plugin. And we turn off and on the plugin. So let's just see what this slider does. K. So if it comes all the way down to 0, it is 0. Okay? And if I bring it all the way up, it only allows me to get to plus 11. So if I right-click it, go over our global link. So 0.5 is essentially, I think, saying that we can't go past 0, which is kinda like the middle of the slider. Because 0 is 0. That makes sense. I don't want it to go to a minus three because if we go minus, minus, we can go, we can go infinite. And it's like What was compression typically we are trying to increase the volume because it's reducing the volume if that makes sense, right? And again, you just, you've gotta kinda know how compressor works that when the audio comes into this compressor, right, the audio comes in, it is reducing the volume. And what we're doing is we are bringing the volume back up, okay, to compensate for the reduction. So because of that, you know, typically we might be boosting by three decibels or we might be boosting by five decibels it, but we want to be able to often on, just like that, off, on, off, on. And we can quickly here, is the volume fair? If it's fair, it allows us to mix better. So I'll right-click, go over a global link. And so the 0.5 is essentially saying, we don't want it to go past 0, but to watch if I would go to like 0.35, you're going to see that it's going to drop down. So just dropped down. I'm just going to accept that and watch if I move this slider, you're going to see we're going to get below. So watch minus 11. Well that's not really going to help me too much. And now it's, now it's 0, so now it doesn't even work very good, right? But what you could do is if you wanted to put it to like maybe just a little bit of gain reduction for some reason. So for example, if we're talking about an EQ, that's a little bit different. We'll hop over to the pro Q3, and I'll break that down just a little bit in a second. So this is just going up and down. This one here is adjusted in the slope. How aggressive? So this one right here is, is going to allow us to get a little bit below 0. Okay? But again, with compression, I don't think you'd ever more really want to turn down your output. Always, you're always gonna be turning it up just a little bit and then turning off and on for the fair volume comparison. But now you can see I can go up to 14. This is going to be for some really, really heavy compression, right? Like we're going to have to have tons and tons of gain reduction. So the way how I had it set up was just like this. I hit Enter, it compiles it for us right here. It also says it's okay, you can hit Accept. And so this is how I had this proceed to set up is off with 0 and then fully up with 11. Now again, because I've set it up this way, you can see that as the slider is actually going full, all the way up or all the way down. We are allowed, we are able to be more precise. So for example, I can see that right around here, like you're halfway. So I can kinda fine tune just a little bit. And it allows me to get that number right where I want off on. Now, one other thing I'll quickly share about the proceed to hear is I on the often on I find tune that a little bit. Okay, so let me just copy this over. Let me just reset it. And I will turn off and on. Again. Up was off, down was on. It's like, well, I don't want that. I want I went down to be off and up to be on mic. That's just how my brain thinks. So I'm going to right-click, go over a global link in the first place to start would be okay, well I'm going to invert it. Gets the first place to start. Now we can now watch down. Down is off, up is on. But what I did was about maybe twenty-five percent up. This is where I said I want this to be off. Okay. So anything above here is on. Anything below here is off and I'll zoom in on that just so you can see it a little bit better. Because it might sound is kinda like a little fine detail, but I'm telling you when I was mixing my music. So right now it's on, again, just look for that red line. So you can see that it's not actually all right here. So there's quite a ways I can go down more. And so all I did was I just override the global link and I set it up just like this so you can just copy this if you want to play around with it. Just enter in a number, hit Enter, and it will show you what's going on. Okay? And again, I'm only showing you those things because those are the things that I discovered as I was mixing fully on, fully OFF was really kinda tricky. And you can kinda limit the range on certain knobs and certain parameters. And the thing is once you figure out your workflow, again, FL Studio, it stores it into this file. So if you transfer over to a new computer and if you're still using the same midi keyboard, your setup is gonna be the same. And that's why this is so powerful is because it saves it for you to again, just make sure, you make sure to backup this file if you're gonna get a little heavy into this, because I promise you, you're gonna get a really good workflow. You're gonna be able to get hands-on. And so now let me just quickly open up the a fab filter pro q3 because this will show you again the same thing on the master. So again, we have the master right here. And again it's the exact same thing. So when we are mixing our music, so for example, if we are boosting an EQ, well, we're going to want to reduce the volume a little bit, right? If we're cutting the EQ or we're probably going to want to boost the volume a little bit. Now again, this pro Q3 has an auto gain which is really powerful. Check this out. You can also wrote that to a slider. Auto gain just allows you and your mixing. It's kind of compensating the volume for you so that you don't really have to do so much with this before and after an often on. It's not perfect. But what I'm saying is checked that out. You can just use a midi keyboard to turn it on and off. You just right-click and you're good to go. What I really wanted to talk about on this EQ was again, just the master volume. So when we talked about the compressor, because when it comes to a compressors master volume, how it works as a compressor, it's reducing the volume to keep things more even. It's kinda like reducing the peaks in the most simple terms, K is reducing the peaks and it's making your audio actually quieter. And what we're doing is we're using the makeup gain to bring up that volume. Now when will we turn off and on the plugin. And again, you can do it from here too. When you turn off and on and you're getting a fair volume comparison, nice and quick. But I really don't think you'd want to go minus k doesn't really make sense. When you're using an EQ, it going minus does make sense because if we're boosting, well, you're going to want to turn down that volume even with the auto gain if it is on and off, because it's not perfect. But let's just say we turned it off to make it like a fair EQ for everybody. If I'm boosting, I'm going to want to cut. If I'm cutting, I'm going to want to boost. And then you could turn off and on. It's the same thing. Right-click override global link. And this was the setting I had for my on and off. Again, don't worry if it looks overwhelming or anything that you could just copy this what I've written here, it's like one minus input asterisk for the multiplier, 0.5 minus 0.4. But then you can enter in your own number if you want to do that. Now check this. So even with the pro Q3, you can, you can, you can adjust the zoom like the actual scale. Okay, so watch this. You can see I have my override global link right here. So again, I'm just going to find which one it is. So there it is. It's this one right here. You can just see it on the camera. So check that. Oh, so I can mix my music. And the reason why you'd want to use the different Zoom is if you're in the mastering stage, this is bring this down. If you're in the mastering stage. If you're in the three range, is, it's really nice to be able to see that if you bring the band down here, you know that you're only cutting by one decimal. And again, if you're getting hands on, so let's just go hands-on. So if I'm mixing, you can see that it's like a wall of about decibel up, right? Which is, could be quite a lot in mastering. But, or if I want to cut, so now I'm down one, right? Or if you wanna go down to two. So that's where the range is really handy. But if you're mixing your music, such as on your instruments, sometimes if you're, if you're looking at the three range, sometimes it's a little too zoomed in. Check it out. You can come back just a little bit. You can go to the 12th or the 30. But again, you just gotta be looking that now if you're here, this is ten decibels of boost, or it could be ten decibels of reduction. Okay? So again, that's pretty much it for the mapping formula. What I would suggest for you guys is FL Studio does have a helpful page. And I'll load it up here just a second. But again, when it came to the master volume, this was like kind of like the main one which really was like okay, this, this makes the difference because it allows me to, of cut and boost only within a certain range. So watch again, if I'm going fully up, it's full. If I'm all the way down now it's only minus 11 plus 11, minus 11. So again, it just allows the in-between to be way more precise K and then also when it came to like the often on, it just allowed me to not have to make this slider go all the way to the bottom. Because again, sometimes these sliders on a midi keyboard, sometimes they're not that precise when it comes to like way at the bottom or way at the top. Okay, now, the last thing I'll finish off with in this video is if you ever open up a window and FL Studio and hit F1, it's always going to bring up a help manual. Now this actually brought us to the same page I was showing you before. You can come down here. And this one's actually pretty long, but I'm just going to find it for you. And so this is the area that you want to learn about. So this is the formula menu, okay? All in this area, the mapping formula. And there is a really helpful guide regarding mapping formulas, which is right here at the bottom. But here is some examples that they give us. Alright, if you wanted to look like this, but again, this is more of like aggressively on, aggressively off. And when I was mixing for the knob, I was more just kinda wanting to fine tune that. You can even adjust like curves if you want it to be rounded and all this kind of stuff. But you can see that, see, I didn't really use this kind of stuff. I just kept it really simple and I just tried to limit the range. So how it works is like if you're knob is all the way at 0, it's down here, right? And if your knob is all the way at 100%, it's like way up here. So essentially you're just kind of saying that we want the knob to be more sensitive kind of thing. But yeah, so I think this is, this is where I got the example for the inverted for the on and off and then I just adjusted. So let me just share that one with you. So this is actually I think this is where I got it for the on and off. So I just literally came here to the help manual. I highlighted it. I came here to the on and off. I right-clicked. And I pretty much just pasted it in and see it's 0.4. So I just pasted that in and I think I just put 0.4. You can see that's exactly what I did. So before you can see that now the slider had to be all the way at 0. I was like, well no, I want it to be a little more up. And so that's all I was doing. I I kinda come here, I'd find some information. Then I would come back to FL Studio IDE right-click and I'd kinda fine tune it exactly how I want it. Okay? And we'll talk more about setting up the fat cells or plugins in our next video. But again, you can also read more about the smoothing or anything else pertaining to this window off of here. Okay, We'll talk a little bit more about setting up the knobs and sliders in the next video. And I hope you guys are thinking of lots of creative ways that you can start setting up your knobs and sliders and how you can fine tune them to get a really, really amazing workflow inside of FL Studio. All hands-on. 8. 3-1 - FabFilter Hands-On [Overview]: Alright, so in this section of videos, I'm going to break down the different fab filter plugins into separate videos when we set them up with our midi keyboard. Okay, so again, I'm going to break down to proceed to the pro Q3, the pro L2, and the pro MBE B is a little bit tricky. Again, I had to set it up with patcher if we want it to get this global link stuff going on. Okay, So this is called patcher. I opened up a plugin just right here. And then as you can see, there's a lot of stuff going on. So I'll make a separate video on that. And then this is a control surface where I put some knobs and you can see it's threshold ratio, all that kinda stuff. So all this will be separate videos and I'll make it really easy to understand. One final thing I want to quickly say is, again, I use the M Audio oxygen Pro and you want to make sure that you are in preset modes. So when you turn the midi keyboard on, sometimes it's a door where it usually is, you turn it on its on dark mode. You want to be in preset mode. And when it is, then you're knobs and your sliders will work properly. Okay, so we will be going over the fab filter plugins. You can quickly reference these videos if you want to set up pro Q or the procedure or whatever. Okay. So let's get into it. 9. 3-2 - FabFilter Pro C 2 Hands-On: Alright, so I put my midi keyboard up here. And this just allows you just to see the knobs and the sliders. That's all you need to see. You don't need to see the keys. And so I mainly just use the knobs and I use the sliders for a couple more important things such as, again, use this main slider for the master volume and then also for the off and on. So you can see it's red is off and then I've turned up, it's on. Also be looking up here you can see it's blue. That means is it is a global link. Okay, so everything I've been showing so far, it's going to make more sense now. Okay? One other thing, also, if you are using a third party plugin, and again, I am using the VS T3 version that allows me to right-click this. You can right-click the knob. You can move the knob, come to Tools and you can go last tweaked. And this is where you can get to that menu, the overall global link. So it's a little bit of a workaround. But that's why I use the VSD three. For the fab filter. You can right-click and it makes it like it's a native plugin. Get right into it. So we have the threshold, a right-click override Global Link. And I put that as my very first knob. The reason I have it like this is because I want the threshold to be able to. Again, if I go down, it's minus 39. If I bring it up, the max is minus six. And this just allows me as I'm mixing my music or even mastering. I can get into the body and I can also hit those peaks. So it's not too often that I want to go like minus four. So I usually find written, again, these settings can change, but that's how I have it set up. So just like that. And again, each one of these typically has the smoothing enabled. I don't worry about that knob. I just kinda leave them all the same. The next one is the ratio. I've set it up just like this. And again, once you hit that, you can move the knob and it would actually do it for you. But you can see in this case of my midi keyboard, it's 8585, just means that's this knob. This just allows me to get a very low ratio. So from all the way left you can see I can go to 1.05. And if I increase it for its seven to one ratio, which is quite a lot when it comes to mixing. Again, if I want it to be more aggressive, I could just use my mouse or I could just be more aggressive with my mapping formula here. So for example, if I wanted it to be more, Let's say I'd go 0.75 and I'll hit Enter. And you can see that it increased up there. So for example, let's say we want that. So I'm going to press except you can see that now it was seven to one. Now it goes to eight to one. So maybe that's a little bit better. So I can go from 1.05, which is very, very minimal, which is good to get into the body, so on the threshold. But then maybe I want to be able to compress a little harder. Now. I'll cover the clean after are the different styles, but again, it's the same thing. You just right-click, you'll override Global Link. And I actually set that one up as my third slider. And I'll explain more about that after. Because again, I told you, I like the first slider as the master gain. And I did this for all the plugins that way master gains, this one, this is often on. That's how I use these sliders. Master gain off and on, and then the sliders to the left for kinda like special things such as changing the style of the compressor or the look ahead, or the auto release or the auto gain. That's kinda the sliders. So let's keep going with the attack and the release. Okay, So we have the threshold is the first one, the ratio is the second one. Now we're going to do the attack. So you just right-click override global link. So it looks like I did fine tune it just a little bit. So I just did it like that again, smoothing is enabled and there is my attack, the attack 0.11. If I want it to go less, maybe I could have done that. So for example, if it was 0.45 cases that even brought it down a little bit more. So who wanted my attack to be more aggressive? It would be like this. So now it goes to 0.036 or something. Okay, so again, I'm just showing you how you can set this up and how you can fine tune this stuff. Again, you can just enter in a number. So for example, it's calling nine. And if you hit Enter, you can see I'm gonna get, I won't be able to go as fast and my attack k is 0.22. Alright, so I'll just leave it at 0.5. I think that's pretty good. Or if sulfur the threshold, you can see, again, that's the lowest I can go. That is the highest I can go. The ratio is 1.05, and then all the way to eight to one, the attack now is quite fast. And then the longest it can get is 128 milliseconds, which is pretty long. If I wanted to fine tune that again, I could just right-click and do that. So now onto the release. So I'm just going to right-click this the same thing. So I have the smoothing on. Again, I didn't adjust how fast or anything it is, and that's it. So we just want to move the knob. And then you can see that I actually don't think I did any mapping formula on the release. Okay. So there you go. But now I can go as fast as I want, and I can also go as long as I want. So threshold ratio, attack and release. The next knob I have is I have it as the knee. So as you can see, this is the knee. And if I go to a bit of a bigger one here, Let's go 18. How the knee works. And I'm just going to be very aggressive ratio because that's the easiest way to see it. So the knee when audio goes over the threshold. So first of all, you have to understand how a compressor works. So once audio goes over this threshold, then it's going to turn down the volume depending on how much ratio we have. Okay. Now, as you can see, we have a very hard knee, which means that the audio actually has to go over this threshold. Whereas if we have a softer knee, you can see that compression would actually have started happening before. This knee. Compression would actually start happening here now and here and here. So you can get more into the body. So freight now, if it's at minus, let's just go to minus six because that's the max my knob can go. So that means that the audio has to go to minus five or minus four in order to actually see some gain reduction. However, if we had more Ni going on, it's actually happening at minus nine. Some compression is probably starting to happen a little bit. Okay. So that's just the soft knee comes in. And again, it just depending on the sound you're working with. If you're working with vocals, it's this a little bit more consistent, whereas something like this might be good with snares or a kick drum or, but it's just nice to be able to, again, watch can use two hands. I can lower my threshold. I can be I can start adjusting the knee. And at the same time maybe you can be like k and the ratio. And you can kind of fine tune how you want to use the ratio to the soft knee. And you can get a really, really powerful experience. Okay? So if I right-click the knee again, that is the fifth knob. I didn't know napping formula and then just have the smoothing. We go to the next knob and we'll see what that is. That is the hole. The hole is a little tricky, but it's once compression happens, it waits for a little bit and then it goes to the release stage, and then it goes back to normal volume. Okay, so again, I'm not teaching you how to use a compressor, but if you know how to use a compressor, that's gonna make sense. So it holds just for a little extra second. And a good way to see it is if we open up serum. So serum is a synthesizer and we have an attack, we have a hole. Now this hole is very similar to the hold of a compressor. It kinda just like so for example, it goes to maximum volume and it holds that max volume, then it's gonna go over to the k. So what I'm trying to say is the proceed to has this feature of the hold. And it's really nice to be able to use it. And you can get hands-on and take advantage of it all, okay, so if I right-click that, we override the global link. I did nothing with the mapping formula. I have the smoothing enabled. And you just simply move the knob. This one here is the look ahead, but you can see that it's not enabled. Now one thing to say about the look ahead is it is going to increase some latency. Okay? So if I come here and go audio, I want you to look right here, okay? So you can see that depending on how many plugins you have opened, it increases the latency depending on what style of plug-in that you have. So when we have the look ahead enabled, you can see that the latency increased a little bit by 20 milliseconds. So by default I usually have the look ahead off for that reason because when I'm making the B, I can have a lower latency. I can play my keys, right? Imagine, imagine these were my keys, right? I can play my keys with less latency, which means that it feels more real. Latency is still a huge problem with music production. And so it's just for you to be aware of that if you turn the look ahead on, it just allows your compressor to look ahead into the audio signal. It's a really cool digital feature of the proceeds to and you just enable, look ahead and you can look ahead quite far. And what this is doing is it's just looking at those peaks a little bit ahead of time. And in other words, it allows the attack to be a lot more aggressive case. So for example, if we had no look ahead and have you had, let's say an attack here and you just found that the peaks, we're just still quite aggressive. If you enable look ahead, then you will start to hear that the peaks are becoming way more control. Okay, so it's a really cool feature. And again, you can, first of all, if I move the knob here for look ahead, you can see that it's moving but it's not enabled. And if you want the hands-on experience, what I did was I right-clicked and you can map the look ahead on an off to a global link this exact same way. But in this case, I actually used a slider. So I did some little mapping formula there. But that was just because like I was explaining before, if when it comes to these sliders, they're not perfect. So I usually instead of bringing it all the way to the bottom, I usually like to ask them. And cushion and I like to have it just a little bit up just so that the slider is more accurate. Okay. So let's find where it had that because again, I had my master volume, which is here. I had my on and off, which is I do this for every single fat filter plug-in. So master volume on and off, and I'll cover that in just a second. I right-clicked here when override Global Link. And I did it reverse. Because now we're going to change the style of the compressor. So I clicked here, I want inverted. And so this is a stylist compressor, which is what I put this a slider seven. You can see I can go through all of the settings nice and easy. Now the next one, you can see that I did that for the auto release, so I just right-clicked it when override Global Link and I just set it up like this again, just so that has a little bit more cushion. The auto releases just kind of like it sets the release for you. And again, you can just kinda choose do want a bit of a faster or slower release and I guess it kind of auto adjusts. Or sometimes just using a static number is sometimes powerful too. The thing is when it comes to audio, everything's always kinda different. And it's just nice to have that feature just to be able to if you want it on and you could just try it quickly. Number five, the slider, this is on and off for the look ahead. That's just how I have it set up. But again, you can set it up however you want. But you can see when it's down, it's off. When it's up, there is on. The next one. I must have done this for the auto gain of the, of this plugin. So again, when you are compressing and let's just listen just for a little bit so that you can hear kind of what's going on and I'll get rid of this. So I have to turn the plugin on so I'll increase this slider. I'll hit Play. So if we had the look ahead on, I think it was number four. So it's going to increase the volume for us automatically and get his hearing a more fair comparison. I'm just dialing in this industry aggressively just so you can kind of here, Let's go a little bit of a less knee. So we're hearing extremely aggressive compression. Again, this is on the master track, but I'm just showing you that you can get that hands-on mixing. May pull it back and go more to the body. Will put up the attack maybe a little bit. So in this case maybe it's like we don't want the auto gain will turn it off. Let's turn off the compressor. We can increase the volume just a little bit because we need a fair volume comparison. Turn it back up. So again, you can fine tune how you want and get their hands on. Okay. So let's just see if I adjusted anything else. So I'm focused on the Proceed to, I'm going to move the sliders so I don't use this first one. On my midi keyboard. My first slider is kinda acting up, so I just have started just to avoid it. Here is my second slider. So again, it's green. That means it's mapped to nothing. Number three is mapped to nothing. So for was the Auto game right-clicked. So I just set it up just like that and you just move the slider. That's all you do as the auto gain number five. So again, it's blue, which means a habit set up to look ahead. Right-clicked. There you go. Number six, letters six is this is the auto release and I have it. I didn't say anything up on that. And they don't have the smoothing. Again, that is just kinda like an on and off kind of thing. So to set it up, as you see, here is seven. So seven is the different styles of compression. And I put that rate beside the often on and the master volume for the fact that I can quickly able if I'm mixing, I know right away it's just kinda beside my two common sliders again. So on all fat filter plug-ins you're going to see in each of these videos, I have the off and on the master volume. Okay, so let's quickly look at the off and on. So I right-clicked, went over a Global Link and I set it up just like this. So one minus the input, I guess that gives us our reverse look. Okay? So again, you can just kinda copy what I have right here. And this allows me to get off and on. Now for the master volume, this is what I did here. Okay, So I just have it set up just like this. And you just, you just move your slide. Once you have your mapping formula, again, you can enter in different numbers. You hit Enter and it'll tell you if it compiles, okay, and if it didn't, it'll explain Usually what's going on. But I have it set up just like this. You can, you can copy that. I'll move my slider again, so to increase it goes to plus 11, and at the very, very bottom it goes to 0. And again, that's just because with compression, you are reducing the volume of the signal and you want to compensate with more volume. So it's often on, you can hear before and after to see, does it sound better? Does it sound more even? Does it have more punch? Okay, So just a quick recap on the knobs here, and then we will go onto the next plug-in. The threshold. Again, I just have it set up just like this. This smoothing is enabled and you can just move the knob. So this is a threshold. The next one is the ratio. So I'll right-click. And this is what it looks like for the ratio. And again, I can get max of eight. And I changed that with you. It was a seven, but I just put it h is for now. But again, you can just fine-tune it as you go. If you think you want more ratio, you go ahead. Here's the attack. I'll right-click. Here is the settings I have for the attack. And it gives, you could just move the attack rate there. The next one is the release. Again, I did not do any mapping. I don't think on there. So it's just a matter of enabling, smoothing and moving the knob. The next one was the knee. So I'll right-click over a global link. I didn't know mapping formula. I enabled the Smoothing. Otherwise watch it just looks really, really gross. See how. Just looks like my computer can handle it very good, right? And so if I right-click, if I right-click that, go smoothing, it just looks way better. The next knob, this one is the hold. So I just right-clicked and I didn't do any mapping stuff. Again, smoothing is enabled and I move the knob. The next one is the look ahead. Now again, that one I think was to do with thinking it was five. Yeah, it was k. So five is enabling the look ahead, right? So if it's not enabled, it's not going to work. So we have to look ahead right here. And again, it has to be on. And let's just see if I did anything special. I don't think I did. There you go. Okay. And then finally, the last one which I did not cover is the range. So the range, I'll just show you the settings first. I did not do anything at all, and I just have it that very last knobs. So how it works is, let's say you had really, really aggressive compression going on. Kayla's just bring it all the way down. Super aggressive on a ratio, fast attack, long release the case that we're, we're compressing this super hard, it's on the master track. The range knob allows you to pull back how much compression you want to happen. It just compresses as just a super steady amount depending on how much you want it to happen. So right now, obviously we're compressing so aggressively. But again, just kinda showing you There's a little bit. Usually you want to have some balance in your music rate and your compressor. But the cool thing with the range is, as you can see, this far knob is adjusting the range right here, right? And so you can kinda, kinda say, Okay, I don't want you to compress anymore than like three or four decibels of gain reduction. So again, one thing you'll have to remember if you are mixing with your hands, with the knobs like I just showed you how you're set up. You can't go like back-and-forth, okay? You can only do that if you use your mouse. Let's open up a new instance of pro C2, just so that we have a blank slate. And you can see that we can go forward or back. Good. Okay. And if I adjust the knobs and whatever or any of the sliders so we can't go forward and back. And that's one thing just to keep in mind that you can't really get that a and B, but you can get that on and off, which is what I talked about in that five golden pillars of music production course. You actually have a C, which is your off and on. Again, look down here. So off and on, if it's a fair volume comparison, you will be able to make a better judgment. But if you want to save it, you just got to use your mouse and you can just use it to scroll wheel. And as soon as you adjusted a little bit, then you can start kinda going back. Okay, so that's just one thing to be aware of. Okay, So the midi keyboard, this approach doesn't allow you to go back that way because it doesn't register those changes and it doesn't register the a and B or the copy. So it would be really cool if we were able to be able to get that to setup, but it doesn't work that way. If you want to save a certain state, then you can just move a knob a little bit. You can copy it over, go to B, and then you can get hands-on again. You just got to remember that. As you can see, I can't copy because the plugin thinks nothing, nothing has changed because I'm only using my midi keyboard. So as soon as you get a setting that you like, you can adjust it just like with your mouse just a little bit. And then you can go before and after kind of thing. If you want to go between different states of the plugin or you can just go off and on. So again, that's the proceed to hope you guys really enjoy your hands on mixing with the pro C2. 10. 3-3 - FabFilter Pro Q 3 Hands-On: Alright, so in this video we will be talking about the fab filter pro QE3 and how to get it setup for hands-on mixing. I'm just going to show you quickly how I have it set up and then I'll show you how to actually do it. Okay, so again, these two sliders, you can see that this is off and on, and we also have the master volume. So the only difference on this master volume is we want to make sure that the master volume is able to go minus and plus. Because again, like I was explaining before, if we are boost, if we are boosting, that's because it's off, kind of threw me off there. Okay. So if we're boosting, we are going to want to cut right? A little bit. And if we are cutting, then we are going to want to boost our EQ. And then when we turn off and on our plugin, that allows us to get a more fair comparison. Now again, the pro Q3 does have the auto gain feature. That is the range there. So again, I selected the third slider here as kind of something that I found really important that I wanted to remember like an on the compressor. The third slider was changing the style of compression, which is something that I found what I was doing hands-on mixing. I was playing around with more, but when I was using my mouse, I wasn't. So that's kind of a cool thing, like I was being more creative. So how it works is I am going to first create a band. And how I do that with pro Q3 is I set up this knob right here to create a band. I have my left one to do this. So let's first select it and you can see the knobs. Okay, So it's a matter of just right-clicking the Navajo override global link. So you can see, I can go left and right. So again, look at this knob right here. Look at the up and down. We also have the queue, which is how tight? And let me just bring it down a little bit so you can see it better, right? So how tight we can do this and check this so you can do it at the same time. If I hit play, right, you can actually mix and like real-time. Okay, so just to kinda show you, tighten up that queue if you want to cut and watch this. If I want to create a new band, I'm gonna go to a bank to, I'm going to move this knob. And there's another band for us right there. And again now we have to make sure that we reach that soft takeover. So that's where you're gonna be looking at your midi keyboard, has got to reach the soft takeover value. And once you do, then you're good to go. Okay? So again, I'm just kinda showing you so I can get hands on mixing gear. Again if you're making the beat, making it nice and fast, That's how fast it can flow. Now, I'll show you that you can also increase the dynamic compressions so we can get upwards and we can get downwards. And that is just off of the US slider right here. So actually you have to select it. And you can see it's happening right there. If I enable it, it just does automatic. Okay? So in other words, it kinda sets the threshold for us, but the pro Q3 allows us to set the manual as well. So now I can get I can adjust how much reduction I want to happen and how deep I want it to be into the audio signal, okay, if you can see that there. So again, this is like our threshold. This is pretty much our ratio, if that makes sense. And then this one here again was to create a band. I'll check out this one right here. I think this is how, how aggressive I want the slope to be. So you can see I'm getting to a 48 dB slope, 36. And then the very last one I adjusted to do just the different styles. So if we select it, you can see we can get like the notch filter. And again, it's a little bit sensitive. But I really did find myself getting a really good workflow. And I really wanted to pass this on because I use fat filter plugins a lot. And I think you guys will really enjoy your workflow care. So I'm just going to go default. We will go default. And I'll just show you how to set this up. Okay, so I will show you how to set it up on one band. But if you want to set it up to the other bands, you have to do the exact same thing. So you're going to have to go to the next bank, the next bank, the next bank, and you just set it up for each band. Okay, so it's not too bad, but there is a little bit of work. Okay? So you're going to left-click to create the band. So let's see, I have the first one as, as left and right, so frequency, so I'd right-click, I went over I global link. And you can see I didn't do, I don't think it did much mapping formula stuff in here, but I do have the smoothing, okay? And then you just move the slider so that's left and right. Now, here is the gain. So we're going to right-click. And I did do a little bit of mapping formula. And I guess this is just so that I can have a little bit more control and it wasn't so aggressive care so much if I want to decrease or let me just move that again. If I'm moving it and if it's not working again, always look in the top here. That's how we can troubleshoot, and that's just because of the soft takeover. So I have to reach a certain value after bringing it down. And there we go. So I must have wanted to have lots of cut, but then maybe not as much boost. So I got about 12 DBs of 12 db a boost. And I did about 24 dB cut. So there you go. Maybe when I was mixing my music, I found that's kinda how I worked. A little bit more. Okay, so typically when we are mixing, we'd like to cut more than, than we boost. But I do like to boost a lot as well. So again, that is the setting I had for the boost. Alright, so the next one is the q. So this is how tight we are setting it. I think it stands for quality, but it's just essentially is it more gentle or a room or surgical? And sometimes if you're mixing, you can boost up a little bit like that and all that's the spot. And then you can just kinda cut it from right there. And if you wanna kinda like Wide, widen it up. And so the setting for that, I right-clicked and I just had nothing. Oops. Sometimes if you move the knob and it goes away, alright, so again, you just move them up and that's it. So right now this band is pretty much set up in terms of just basic mixing. Okay, so if you're using just a basic EQ, if you do not have the pro Q3, then you'd pretty much be done. But now the pro Q3, it has the dynamic side to it, which is essentially like compression built into the EQ, which is really powerful. Now to set it up is really easy. But before I do, you might ask the question like, when should you use dynamic compression over the E single band compressor or a compressor? I'm honestly, it's just kinda like if you're mixing the song and you just feel it, you want a little bit more control at that time. That's kinda like where I would do it. Again, I'm not a professional, but I have been doing it for quite awhile and that's where that's kinda like how I would approach it. Like, let's say the song's going on right now. And let's say I was EQ in a little bit and it was just kinda like didn't want, I want a little bit more control there. Maybe that's where I would adjust some dynamic EQ. Or again, you can also boost as well. That's a really cool technique. It kinda makes things pop nice and quick and it's not too aggressive. Okay, so let's look at how we set up the dynamic section. So all you do is you right-click over a global link. So I do have the smoothing enabled. And so I just gotta be careful on the knob, I move here. So let's just make sure it was this one, kid is that one. So I'm just going to right-click and you just move them up. And that's it. So you can see you can get a lot of upwards and a lot of downwards. Alright, so that is just like the Automatic Dynamic mode, okay? But if you want to access the manual mode, you have to select the Auto button right here. And you can see I haven't already set up, but it's just a matter of just right-clicking it and you go override global link. I don't have anything set up special on it. And you just move the knob. And then there you go. So now you have the match. So in other words, you have like, kind of like the ratio. And then you have like if you want to control how much into that threshold care swatch of a hit play. So in other words, select not much, like nothing's gonna happen and watch all those, increase it just to a bit of a latter part of the song, just using my number pad for that. So again, not saying that this sounds good. But watch now I can go more into the body and maybe we're pushing it down pretty hard. So usually we want to have some balance in our music, right? So you can see it's moving a little bit more now. I can really hear it sucking the life out of the snare. But again, just kinda showing you how we set that up. Now to reset it, you can just right-click and you can go clear dynamics or even disabled dynamics. Alright, and so the next knob here is to create a band, which I'll talk about in just a moment. You're going to see if I move this, brings it back, okay? And I'll show you how to do that in just a moment. Okay. I just wanted to show you how to set up the steepness of it, which you just right-click override global link added, nothing special. I literally just move the knob. So the setup for this pro Q3 is pretty easy. And again, this is really powerful because if you had like a low cut, so look, you can adjust how steep you want it to be just from your midi keyboard. And if I just lord the q, okay, So look like, so here's my two hands, right? So everything is off of the midi keyboard. And here's the steepness, right? So there you go. Then finally, the very last one, you just right-click here, which is the different bands shapes and you're just going to select here. And again, I did nothing in the mapping formula. And you just move the knob again. I do have smoothing enabled. And that allows you just to get your different shapes. Now, I will cover this third one here quickly. So what you wanna do is you want to go to band one used and I go override Global Link. And I set it up like this. And it works really, really good. Okay, it just allows your band to be created. So now, remember, like I said, this is all band one stuff that you have available to you if you would like to do something that I haven't shown you, you can set it up here, okay. But I have used all the knobs in this case, and we'll talk a little bit about the sliders in just a moment. And I usually use the sliders more for things in common to this plugin, which I'll cover in just a second. So let's say you wanted to create the second band. Okay, so again, watch because I already have it set up. I just go to bank to I'm just going to move this third knob and you're going to see there. So it just created it right over top of it. Okay. But you watch, you can see I can move it now. And now I could do it again. So let's say I go to the third bank. I just moved the third knob. And there it is. It's right there. Now again, I manually do this all myself. So in other words, I just copy and pasted over the same settings over and over. So when I'm a bank to, and again, I'm just gonna move this slider to find out what, which one is actually bank two. So this one is bank TO case. I'm going to click it. Now you're going to have to right-click and you're gonna have to go through the whole thing again. Alright, so it's a little bit of a tedious setup, but like I said, once you set it up, this file right here, like I told you that you want to backup. This stays with you. And if you use these fab filter plugins all the time like I do, hey, it takes maybe an hour to set up. And then from then on, you can always get hands-on. Let's go back to bank one. Because again, remember if I go to bank to the sliders also change. So check this out. This does not do the master volume anymore or does not do the off and on. So that's something to keep in mind. You have to be on bank one for the master volume to work and the often onto work. Okay, So if you are on bank to bank through your bank for and you're kind of mixing. You are going to have to go back to bank one and then you can kinda. But I did find it was still quite a good workflow. Really powerful thing in pro Q3 is you do have the auto gain. Again, it's not perfect. But when you are mixing your music, if you are adjusting your band up and down, the pro Q3 is intelligent, so it's kind of compensating for you. So for example, let's just go to a default. If I just select a band here and if I go up and down, essentially it's like this. If I go down, it's essentially that gives boosting it up a little bit. If I'm going up, it's like it's bringing it down a little bit. But for you, and that is what the auto gain does, and that's why these are expensive. But I'm telling you if you really, really like beat making, if it's more than a hobby, if you really, really want to get into it. I'm telling you the benefits of FL Studio for beat making and fab filter is just phenomenal. Let's check out number six slider here. I'm just gonna move it. And so ISI adjusted that as the range. So I'm just going to right-click it overall global link. And you can see that I, all I did there is I actually didn't type that in. So if it's default like this, I just want inverted. Did it for me. So right now let's say we're mastering our music. So typically I would probably go to like the three range here. And I know that I'm only one decimal, two decibels. So if I come down here to one decimal, appears to decibels. And you can do it all on the fly. Rate from the midi keyboard. Really, really powerful. Okay, Let's see what I have for the next one. So I didn't set anything up for the next slider, nothing for the next one, nothing for three and nothing for there. And that's it. Okay, so that's how I set up the pro Q3. The main one really is this master volume and the on and off and the auto gain is pretty powerful too. I don't always use the auto gain, but it is a nice feature to have if you're going to pay for a plugin like this, it's nice to take advantage. But typically, even with the auto gain, I am finding myself sometimes having to do like maybe one decibel of COD or one decibel of boost. And then often on. And again, you don't want to be spending so much time going off and on. But like I'm saying, when you're mixing your music all in context of the mix, it really gives you a really nice fast workflow that's consistent. Then again, like I just showed you. So when you create each band, this is how you set it up, right? You're gonna go through each knob. You're going to set up however you want it. I found that this workflow is really, really nice. This third knob, I just remember that this is how I create my bands. So if we want to go to another bank, I move this. Okay, there it is. And you can start mixing right away. Okay? The only annoying thing is just that the soft takeover. So you gotta keep this off takeover in mind that you actually have to reach the value before you can use the knob. So yes, so you're going to have to go through each band and you're going to have to set it up yourself. But I set this up for four different bands over my four different banks. Can it gives me a really, really good workflow. Overtime, maybe I might adjust certain things such as right-clicking. And maybe I might fine-tune certain things, but I didn't do much mapping formula. It was mainly just this main gain K. So if I click here, you can see that it's that same. So I just make sure to highlight, I copy it. And then I'd go to each band and I make sure that they're all the same. And again, once you set this up, once it saves it into here for you. So again, make sure to back this up. And I'm telling you you're gonna, you're gonna get a really, really good experience inside of FL Studio. Okay, So let's hop into the next video where I will talk about the pro. The pro and B is a little bit more involved. So I'll leave that for the last video, but this is a really cool plug-in, okay. 11. 3-4 - FabFilter Pro L 2 Hands-On: In this video, I'm going to break down the fat filter pro L2, which is a super, super powerful limiter. You're able to push your audio quite hard into it quite transparently. And just get a really decently loud master where it doesn't sound overly processed or too hard or anything like that. So the first thing I want to show you here is the first one right here. I was thinking I was going to put it the very first knob. But then it was like wall. No, I want it to be the same with the other plug-ins. So as you can see, if I go to the proceed to I told you that they got the master volume I wanted as that slider and then I want it on and off because I wanted them all to be like that same workflow. If you look here at the pro L2, you can see the max I can go is 7.5. If I right-click it and go over our global link, you can see that this was the mapping formula. So typically when we are mastering our music, we want to have the loudness at the beginning of the mastering chain. So this is called a mastering chain. So the order that your plugins are in. So for example, if we just opened up, Let's say the fruity limiter. And if you do this, you're just going to want to increase the ceiling all the way to the top and the attack all the way to the bottom. This just reduces any latency and stuff like that. And so if you want to increase the volume, you can increase it from the limb. So this is not a limiter. I'm just changing into what's called a gain plug-in. Okay? So we are just, so let's say we've mixed our music. Let's say it's a little bit quiet. We're going to come to our master. We're going to open up a plugin. We're just using this to increase the volume of our mix. We're not doing any processing off of this plugin except for increasing loudness. Okay, That's all we're doing. I'm just increasing again, look in the top-left of FL Studio. Now what's happening is we have now pushed the volume of the master up to imagine it that it's at a decent level. Now, it's going through our mastering plugins. And then when I hit our limiter, this is where maybe I might be doing maybe one, maybe two, maybe four decibels of Boost, which is quite a lot. And all show that with you. Okay, so I'm just going to remove that gain plug-in. I'm just showing you that. That is sometimes what I would do if I mixed my music and I want to push it just a little bit louder, I would boost it from there. And then when I'm using all my different plugins and my mastering chain, it's already at a decent loud volume. Then each plugin can process it again. We wanna make sure that when we turn the plugin off and on, it's an affair, decent volume rate. And so let me just hit play here and I'll show you that this track at the moment it is not finished. It's a little bit quiet. So honest to turn the volume. I'm going to reset it. And I'm going to walk through the pro L2 a little bit more with you before we get into setting up the knobs and sliders just so you can have a better understanding of it. But right now this is in the course of the track, and we're only at minus 15 on the short-term for the loudness. So to me, this track is probably too quiet, so it does need to be boosted up and that's where I'm going to boost it up a bit. But watch if I go back a little bit. So you can see what a rho minus 11 now, so this is kinda more and that the sweet spot of where we want our master to beat, it can push up a little bit more. Again, I'd have to listen a little bit more closely. Because watch. Once it leaves this chorus, it's going to go into the verse. We want to be powerful. If I want to turn off and on. So again, that's just like that workflow. So let's just quickly walk through the pro L2. So we have our gain, we have our output. It's at minus one. That's like the industry standard right now. Okay. What makes the pro L2 so powerful is it also has a loudness meter built-in. So you don't need to have an additional loudness meter. So it's both your limiter and your loudness meter that you put as the very last plugin to prevent any distortion. Okay? It also has a true peak limiter built in. And this is really powerful because there's something called intersample peaks. I don't wanna go too much into it, into this video and in this course. But essentially, if you push your music too loud, there is what's called intersample peaks. And it can cause distortion on like your MP3 player or on your phone and when you play it back. And so if you enable the true peak limiting, it ensures that your master is at that minus one true peak. And this is kinda like a new industry trend. But all I'm saying is that the pro L2 has all these all these features built in and that's why it's so powerful. Okay, so without getting too intense, Let's just walk through how I have it set up for you to get going and get up and running with it. Okay? Again, this gain knob I was gonna put as the very first node. But then I was like No, no, no. I want to have all my Often on right here. And I want to have my master gain kinda right here. So again, I just have it set up just to go to 7.5. If you are using it for mixing, you can increase this a little bit more if you want. So for example, if it's 0.25, if that's not enough for you, you can put it to like, let's say 0.35. If I hit Enter, you can see it just increased, right? So watch if I go to 0.45. So let's just leave it at the 0.35. So it was at 0.25. And so if I'm gonna do that again, so it allows us to go up to 10.5. So if that's maybe something more that you want, because if, because again, you can use the pro L2 in your mixing as well. This is a really, really powerful trick because you can use it to shave off peaks off of your audio and a really nice smooth way. But again, I'm just going to right-click and I'm just gonna put this back to the way I had it because I liked that workflow. So again, my gain slider on the pro L2, I can just max out at 7.5. And then again, I just have my Often on right here. And again, if you are turning off the fat filter plug-ins, it is highly recommended to do it from here and not from here. Because again, fab filter has their special code to prevent glitching and popping when you turn it off and on. This allows you to hear it often on really, really clean. So if I right-click that overall global link, and again, I just have it set up like this. So the 1minus input just allows like that reverse. But you can just copy this text. And again, that just allows it so that when it says down here, it turns off just a little bit sooner. Okay. So again, I did that with all of the all the fad filter plug-ins for the often on. Okay, so let's work our way. So again, that was just the main gain and that's how I approached that. Now, a really cool thing about the pro L2 is if you hold down Alt and you use your mouse. 12. 3-5 - FabFilter Pro MB Hands-On: Alright, in this video, I'm gonna be talking about the Pro M B, which is a super powerful multiband compressor. Okay, so when we talk about a single band compressor versus a multiband compressor, a single band compressor is watch if I take these, delete them, bring it over. A single band compressor is essentially just like this. Okay? We have just one band and if our audio goes over the threshold k, wherever we adjust our threshold, then it compresses the whole signal. So if the drum goes over, it even compresses the hi-hat. If the high hat goes over, it will reduce the snare, okay, if this is always the master track, in other words, a single band. If any of the audio goes over the threshold, it reduces the volume and that can cause pumping in not a good way. And so if we look at a multiband compressor, so I'll just copy this over. Now. Four could be intense, but I really, really do like four. Sorry, I didn't mean to delete two. Just wanted to delete the one. I was usually always working with for, as you can see right here. But typically a normal multiband compressor is three. I was just like for just kind of allows me to hit just the different ranges. Now I know a couple of things I want to quickly say before we actually get hands-on because the normal approach too, to doing this like such as like when I showed you in the proceed to right, if we move just like a knob and stuff like that, this is just one interface, okay? And it worked good. But when it came to the pro and B, we actually have a threshold on band one, we have a threshold on Bantu and a threshold on band three. So I was like, well, how can I get one knob to link to all of these? And global link doesn't work that way. Global link can only work on one knob, on one plug-in. And so in other words, I wasn't able to use global link on band one, band-to-band three. Then I was like, okay, well maybe I'm going to try the link to controller, which is the project link. But the problem with that is that it overrides these knobs for every project that you're in. Okay, So again, you can go back and learn more about project links and global links. I wanted to, just when I opened up this plug-in that I can have one knob to control each bands threshold, each bands ratio, and I'll share that with you. So first of all, what I did was I had to load this into patch here, okay, and we're gonna do this in this video. In this video you're going to learn about how to set up patcher. Now, don't worry, it's not as intense as what it looks like here. I'm just going to remove some things there. Okay? So how this works is we have pro and B, just like you see right here. You can see that this one is in patcher. And if I highlight it, you can see that watch if I move the slider. And also here you can see I have a controller. So if I, if I either double-click here or click up here, you can see that I set up some knobs. And this knob, which I had to do the global link on. So in other words, this knob can be controlling multiple knobs. Let me just show you. So if I move the threshold, you can see it's moving on pro NB, Right? But check this. So if I go, if I'm on band one, it's moving here, but it's also moving here as well, right? If we come here to the Bantu, it's moving there and here as well. Now the best way to see it is if I move the range, okay, so you can see that the range is actually moving all of them. And that's essentially what's happening for the threshold, except you just can't visually see what's going on with the threshold. So for example, you can see that here is the threshold. I've put it all the way up and all of them will be the exact same. Because I've set up patcher like this. Now again, just to repeat, so I had to set it up inside a patcher to get the global link hand-on experience without having to use the project link. Because again, the project link would not allow me to use these knobs for anything else except for this. So now that you know how a multiband compressor works, which is now you have multiple bands. Now you're not getting that same pumping. So if the drums hitting, okay, it's not pumping like the high hat. And if the vocal is here, then it's not pumping like the snare. So in other words, we have different ranges for compression to happen. Now one other thing I just want to quickly say is if I highlight these, you can see that the pro MB allows you to get different slopes. So for example, if we had a 48 dB slope like this is very, very aggressive and each band really honing in to that own area. But there is a crossover here. Okay. And so for me, I was usually always working maybe a 24 and even at 66 dB slope is a very, very gentle slopes. So in other words, you are still getting compression just in this area. However you can see it does overlap a little bit like if I bring that range back just a little bit. So I actually have to have the window loaded up, I think. And so you can see that, you can bring it up. So you can see that when we have a six dB slope, which is the less that we can get if I go to 0, it puts it to six and the max that we can get 60. 4848, very, very aggressive. And six is very, very gentle. So depending on what you're wanting to do, maybe you want to put it like 12 or whatever, but I usually find six is pretty good to get nice, transparent compression and full control over a sound. But you can just see it kinda blends into the other band. And again, you can get that hands-on mixing experience. You can see I have the threshold, I have the ratio, I have the attack, I have the release. I have the knee. Okay. So again, because it's not visual. Let's just go back to the proceed to again, like I showed you. So I'm just going to go to a different range and we'll bring it up. So watch if we have a very hard knee. So what this is saying is that our audio has to actually go over the threshold and then compression will kick in. If we have a soft knee, compression actually starts happening here instead of right here. And that could be the difference of quite a difference like look. So I haven't changed any other settings except for the knee. And the knee is a soft knee. In other words, the compression is actually happening way before minus five. You can see compression is happening like way back here at almost minus 12. And so that's just one thing to know that maybe you can actually pull back on the ratio. I also believe when you dial in the knee that your compression kinda gradually comes in if that okay. So for example, if we had like ten to 110 to one might be like ten to one up here, but down here, it's a little bit of a gentler ratio and it kinda gradually goes in. And so this is why it's really important to have all these different features on these plugins. And so that's why I have this. So again, I have to be focused on this window. You can see that the knee I can adjust, but again, it's not visual. This knob right here. I don't have setup as anything. And then this one is the look ahead. Now, one thing in the patcher version, I wasn't able to right-click. Alright. But whereas if we open up just the default one, so you can see that this one is on the master. This one is just like a regular instance of pro and B. This one is loaded up within patcher, right? So if I click this one, so if I close this, open it up, okay, So we have two instances right now. This one is the regular instance that you would just open up as a normal plugin and check this so you can actually right-click the look ahead and you can right-click the oversampling. But in patcher, we are not able again, look in my, my, my clicks so I can right-click, I can right-click. In other words, there's some pros and cons to this approach. One thing I also want to say is I didn't fully like loading and a plug-in into patcher because if we right-click here and we look at a boat, you can see that patcher does have a version number, which means that it is software, it gets updated and hopefully this works down the road, but I'm sure it does because FL Studio is pretty good that way. But I'm just going to show you how to set this up. Okay, so what we're gonna do is we're going to open up an instance of patcher. We are going to load in just a couple of knobs. We're not gonna get as intense as this, but you can follow the exact same thing that all I'm doing is we're using a control surface to set up knobs so that one knob can control multiple things. And that's how I had to set up the pro m b to be able to control all knobs and sliders from one knob. And it's so powerful, I'm telling you I got such an amazing workflow when I was doing this. Okay? So what you wanna do is you want to go to patcher. Now, if you notice in my stuff, I actually don't have patcher because I never use patcher. I actually had to use I actually just loaded it up and just quickly learned it just to figure out this pro and B because the hands-on experience was so good. So in the plug-in database, you're just going to go to your installed, you're going to go to your fruity and you can find pattern here. But here's a cool little trick. You just go Control F google patcher and it finds it for you right there. So I'm just going to load this n. And this is what it gives you. Okay? So if you're making a super complex one, I guess you can have all these different things. I just like to keep this super simple, okay? So this surface, I'm just going to right-click it and just going to call it a controller. And it just changes the name up here. The next thing I'm gonna do is I'm going to right-click. We're going to add the plug-in. And because I have my effects organized, it's in dynamics and here's pro MBI. Okay? Alright, so I'm just gonna hold on Control and just the scroll wheel up and it zooms in on just a little bit. Now, the size that you make this, I believe, is like the size that when you sit because after you can save the preset and you can load it in whenever you want to get the hands-on mixing with this program B. Alright, so we're going to open up the pro MBA here. And so what I would do is I would create four bands. Again, this is what I like to do. You can have it, you can have three bands or whatever. But I usually like to have the four bands. That's something that I've liked to do over the years. It just allows me to get a really nice balance to my sound. And if I highlight them all again, you can adjust this however you want right now. Essentially you're making a template to use over and over. So let's just say equals six to one, okay? And then what you have to do is you have to right-click. A knob and to activate it, okay, So you can do it this way. But the thing is you're going to have to activate each one. So again, we have, let's just keep it simple. Let's just say we only had two bands, but you're gonna do the exact same thing if there were four bands. Okay? So I'm just going to click on this one. We go Activate. You're going to see it allows us to have an option here. And again, you can do it this way as well. But I'll show you the fast way because you guys know what I always like to keep all the shortcuts and stuff. So what we're gonna do is again, I just want to make this window a bit smaller. And that way everything will fit on the screen. And whenever you open up patcher, It's not as invasive to your workflow. Alright, so what we're gonna do is we're going to right-click on the pro NB. You're gonna go to the inputs and the parameters. And you can see like, Whoa, there's so many and I'll just get rid of the keyboard. So again, FL Studio allows you to right-click and enable things. Okay, so if I, for example, I'm just going to left-click and here's the threshold. So again, there is that. So that's the same thing as coming here and right-clicking and it went activate. If I come to the Bantu and right-click and go Activate, you can see that now we can take so in other words, we will be able to connect our stuff in just a second, okay, So we have to activate our knobs to be able to be connected. But I just want to show you the fast way. So right-click input parameters. You can see that the bandwidth threshold is enabled as well as the Bantu threshold is enabled. So I'm just gonna go threshold, range, ratio, attack and release. Again, I'm right-clicking and that's how fast it is. Okay. Let's just maybe set all of them up. We'll go knee will go look ahead. And I'll also go threshold, range ratio, attack, release knee and look ahead. Now if I hit Escape, you're going to see there's a lot of red dots. It's like, oh man, this is getting intense. It's not that bad. Okay? So in the controller, we're going to double-click it. And this is where you can start creating your different knobs and sliders. I'll just show you some really powerful workflow tricks that I found. Because again, I've never used PATRIC before. And this is going to speed you up. Alright, so to add in a knob or a slider, and you can decide here, if you would like the knobs more than the sliders or whatever, you can do that. So if I right-click, we're going to go a knob. And here's the trick you first want to add it in. So it doesn't matter what when you add in, you can switch between them. So let's just say we go with the green, OK. Now you can right-click, you go to Styles, and this is where you can right-click and you can choose them, okay? But if you come here and if you try to right-click, it, just adds it in. So again, you just want to add it, add the knob in. You can right-click and then you can change the style. Now one thing I want to say is, okay, right now I have to disable this for the knob to be used. But you can see that I like and I can even edit it. So you have to be in the wrench to edit. If I right-click and go style, I usually like to have a knob kind of like this, something where I can see the amount that is increased. Whereas watch if I go through a couple of these. So this is a nice one. This is fine too. That one's fine because it does have like the little like a line to show you like where you're at. But sometimes there's certain parameters which sometimes are a little like, even like this is maybe a little tricky or something like this. Like I would not recommend because I watch, I'm just going to duplicate it. Because what if I disabled? You can see that we can actually move this in this area. So I, I personally like the style to be something like this. Like, let's just go with this novel care. I think this will be a great one to look at. And we can right-click this, you can, in the size, you can make it a little bit bigger. Maybe. I will just duplicate this over and over. So we'll go duplicate you right now. You can see that when I move it's hard to get things lined up. So you can right-click, you'll grid and you can adjust how big you want your grid. Okay? So again, I'm just kinda showing you how to do this nice and quick. Again, if I just duplicate, again, we're just going to line these up. So one's going to be for the threshold, one is for the ratio attack and all that stuff. One other one I just want to show you is the slider. So if you wanna do this slider approach, you can do this too. Now again, I'm just going to move the slider up and you're going to see that this same idea applies. I like to have this background color because it just makes it a little bit easier to see when you're mixing. So watch if I select the different ones. That one's fine, this one's fine. This one is fine. I'm just going to click a little bit over more. Okay? Yeah, so let's just keep working our way through so that one's good, that one's good. And I just want to show you some of them are really hard to see. See something like this. Yes, we can see it's up. But I do like that little background view. I'm telling you it just makes it like that's good, that's good. You know, all these are pretty good. They're just like see something like that. I like to have that color personally. But again, you do whatever you want. One other thing to say, what's the slider is, you can actually make it horizontal orientation and you can go that way as well. So for example, if you want it left and right. You can do that. Okay. But I personally just found I liked the knobs. Oops, I have to delete that. Okay, so let's just see what I have here. So we have threshold ratio, attack release knee. Look ahead. And I think that's it. So 12345677. Okay. So let's just keep going here. So I'm just going to duplicate. And I'll just keep doing this. So I will go rename. And again, I just usually like to write in capitals. So threshold ratio attack. And as you can see, it's, it's all about setting yourself up. Slow release. We will go range, knee. And look ahead. I think it was one. So look ahead. Okay. So as you can see, when I did all my colors and selected one that I liked, it applied to all of them because of a highlight them all. And if I right-click, Let's go style. Okay, That's cool. Okay, good. So C FL Studio is really good that way. It just allows you just to work nice and easy. So something like that's cool. Okay, so now we have to link these knobs to the pro NB. And it's actually really, really easy. Okay? Alright, so again, all of these red dots are just the knobs right here. So threshold ratio attack. Now you have to look in the top-left of FL Studio. Again, there's FL Studio will essentially teach you how to use the program if you just look in the top left. So what we're gonna be doing is if you right-click on it, you can see that you can route them to these different parameters. Okay, So for example, ratio, while we were gonna wanna wrote that to band one. So remember this is band one. This is Bantu. So we're just gonna go ratio here again, look in the top left. This is how I know it's ratio. It would be nice to see ratio in here, but it doesn't show it. So that's why you got to look before. So you can see ratio, right-click. And we're gonna go to band one ratio again. Just right-click, nice and easy. Boom. And we're gonna go to band E ratio. Done. And you can see it does that for us. You can click and you can route it yourself, but it gets really, really tricky. So the next one is threshold. So I'm just going to right-click. We're going to bend one threshold band to threshold. And again, if you had more bands, right, it's just the exact same thing. You're just adding it on. I'm just going to do two because it's a little bit faster. Okay? Now let's go to the next one. So attack, attack, attack. Next one is released. So I'm just right-clicking. We're gonna go release and release. And again, the reason why we have these dots, I right-clicked, went input, I went parameters, and these are the ones that we enabled, right? So I just want, again, if you want to use band three, you can use band three and you just right-click to add them in. But I just did band one and band two. And these are the ones I enabled just by using right-click. When I'm done, I'm going to hit Escape. Let's keep going. So here's the range. So band one range, Bantu range. Here is the knee. Again, I'm looking at the top-left, band one and band two. And here is the next one. So here's look ahead. So I'm gonna go to look ahead on bad one and look ahead on Bantu. And now we are set up. So check this out. If I come here and move the knob. So guess what? This threshold is adjusting, bad one, but it's also adjusting Bantu at the same time. And again, to see visually, if we move the range. There you go. Okay, check that out. So now what you do to get the hands-on mixing experience, I'll bring the keyboard back. To get the hands-on mixing experience. You're doing the global links off of the, off these knobs. And so in other words, if I right-click this, I guess I have to activate it. And then I'm going to right-click and go overall global link. This same little window pops up and check this out. So now if I got, I'm just going to remove this because my midi keyboard is kind of like in this standby mode. So I'm going to hit that. I'm just going to hit a button, it brings it back. Now we're an operational mode. I'm in preset mode and that's important because if I'm in dark mode, all of these knobs and sliders are different CC numbers. If you remember, when we went way back in the beginning of this course, I talked about their CC numbers. So right now I'm in Bank one. Could be bank to bank Treebank for, but I just want everything just to be off a bank one soap. On the threshold, a right-click, I go over a global link and we're going to move the first knob because let's say we want to set up this one as the threshold to keep it consistent with the pro see. Right. That's what we had for when it came to the proceed to that was threshold. But you can see when I move it, look it looks kind of gross again, right? And if I right-click, I just didn't use smoothing. Move it. There you go. It's the exact same experience and it is moving both of them. Okay, So this is Bantu, this is band one. So let me just do that for all of them. So I'm going to activate, Activate. And usually when you Work its fastest to kinda do the same task over and over. And then you're gonna go and work your way through. Alright, so I'm just going to route the ratio attack and release, but you guys get the point and you guys can follow along for the other knobs. So here's the ratio again over a global link. Smoothing enabled. Just move it. So there's the ratio down there, whereas the pro C2, it has threshold ratio right beside each other. But I just wanted to keep that workflow because that's usually how when you're using a compressor, you're using your threshold and ratio together and then your attack and release. And then I tried to keep it the same. Okay? So again, here's threshold. It's doing that knob. Here is ratio, it's doing this slider. And then here is the attack enable smoothing. Here's the attack, here is the release. And again, if we just kinda keep working, here is I actually did the range as the very, very far one. Again, you can see if I don't enable smoothing, it just looks so like like my computer can handle it. And when you're mixing, it just looks way smoother, way better on the eyes. The knee I think I had next, so threshold ratio, attack release. Let's go the knee. Then. I also did I think I did the look ahead right beside the range just because I knew I was over there. And the thing with the look ahead because it's an patcher, we are not able to right-click this because before I would use my sliders to change that stuff like you saw in all the other plug-ins. So this is something where we have to use your mouse and that's just the way it is. We're restricted because again, watch if we come back to the pro and B, we go to inputs, we go two parameters. So from one all the way to 152, these are the ones that pro M B gives us to be able to use with their knobs and sliders. Okay? And you can see down here these are the ones that are global to the whole plugin. Whereas band one that only pertains to that one single band, right? We come down here, there's mics, there's input, there's bypass. I'm right. We have all these different ones available to us, but there was not the look ahead and stuff available to us, which was kinda like, Oh, because I liked that hands-on workflow. But because like you can see when I open up the pro and B, I can right-click these. But again, then we can't get the hands-on mixing because each of these is a different band and you can't link the global link to multiple things in the same plug-in with the same knob. And that's where this setup comes in, that we want to use one knob, right? We want to be able to use one knob to control the threshold and the ratio. And again, so watch if I'm maxed, if I'm maxed out here, you can see I'm maxed out here. Bring it back to, let's say it's 2 one-to-one watch. It'll be 2.01 to one because one knob, knob is affecting multiple bands and it's just such an amazing workflow cab. So let me just quickly show you the one I've done and actually watch before we do that. You can push in your middle scroll wheel and you can name this like pro, pro and be like patcher or just even pro MB. And if you click here and you go Save Preset, now, you'd want to save this into your plug-in database if you want to keep reusing it. So for example, you can see in controller, I have my own pro NB controllers. What I would suggest to you, and you can count peer effects. So again, this is where we can have our own customized user folder. And you can see I haven't controller, so I saved my own Pro and b controller in there. But if you wanted to do that, you can come here and you can go Add to plug-in database and it would add it in there automatically for you. Or you can back it up. You can come here and save it. So if I save the preset, I can just drag it onto my desktop. And if I want to drag it back in, you can see that now I have another instance, and there you go. So it'd be all be set up. So as you can see, I have two instances of this pro MV setup. But let me just quickly show how I have mine set up. Alright, so this is the pro and b that I personally have setup at the moment. Again, it can always change over time, but you can see I also have the output as a knob. All I did was I just created another another knob. I just right-clicked, went duplicate, created another, another knob and call it output. Now, I could have actually just right-clicked this and went over a global link and I could have done it from right there. But I believe what was happening was when I wasn't focused on this window, like if I clicked over here, that the output wasn't working very good. And so I think I set it up this way because it worked just no matter what and I was able to just get a really good workflow. So again, I have this slider as my volume just like before, right? I have my Often on and to do the off and on, I believe I right-clicked and you can see overall global link. And so I just set it up just like this for the off and on. For the output, I'm going to right-click go over a global link and you can see I set it up like this. So in other words, I didn't want it to go less than 0 because again, when we're doing compression, it is reducing the volume, right? And so I just wanted to be able to increase the volume. One gain reduction happens. And so that's how, you know, this one I have plus 12. And then again, I can always turn it off and on. Again. I will show you an example. In the very last video of this course, I will show you how to use all these plugins in a real-world setting, just nice and quick, and it'll kind of put everything together. So again, this slider was the master volume, just like I showed him all the fab filter plugins. This one is the often on. I don't believe I set up any other knobs and any other sliders because I wasn't able to right-click, otherwise I would've. Alright, so let me just walk you through each knob and how I've set them up because you can see my threshold. I can't go again all the way to the bottom, but I did go to minus 60, which allowed for a lot of compression. You can see my ratio can't go all the way to 0 and the max I can go is eight. The attack, I can't go all the way to 0. I just have it. I'd like to like 3%. And then the max I can go is like 78. The max. So the release, I'm able to have full control over the knee. I want full control over the look ahead, full control and then the range. This is, this is where I maxed out upwards, which is really powerful because I believe the pro MBA allows you to do upwards compression and upwards expansion if you want. That. Three is pretty good because it's very subtle, but I did want them the full reduction. So I'll break that down in just a second. Okay, So let's go through each one quickly. So the threshold, I've set it up just like this. Again, this number can change over time, but I have set it up just like this. So in other words, this is like that minus 60, I guess, right? So I want to be able to go into the body of the sound quite heavily. And then let's just play around with these numbers just a little bit just for you to kinda see how they work. So again, you can delete one, hit enter. Okay? So in other words, on the threshold, I'm kinda limiting how high I want it to go. So watch this. So right now, if it allows me to go to minus nine, and if I come here and right-click, and if I put this two minus five and let me just go one sec, I'll just hit escape. Right-click. I'm just going to copy this just so that if I want to bring it back, Here, we go to five. So you can see that this is probably going to put us to minus 12 or minus 15, but that doesn't really give much flexibility for mixing like minus 21, that's the max I can go, right? And then the minimum I can go is about minus 60. But the max I can go as minus 21. But when we're mixing and mastering our music, like you know, sometimes you do want it up quite a bit higher. And so that is what this is doing. If we put it back to seven, this is allowing me, I think, to get to minus nine over the threshold. So in other words, I can kinda get within the range. The next one is the ratio. You can see I've set it up just like this. Again, that's allowing me to just limit the low end and the high end of the spectrum. Again, you can always play with these by going like you'll 0.15, hitting Enter and just kind of playing around and getting it how you want it set up. And again, the salt from my ratio, the less I can get is 1.1 and the max I can get is eight. Now, if you're mastering, maybe you want it to go to like a 1.05. And if you wanted to do that, Let's just see if we can fine tune that a little bit. So it's 0.1. So it'd be like 0.05 or 0.08 or something like that is what you would do. Okay. So watch now I'm going to accept that. And if we go back to the ratio, so the last one, I can get 1.08 and then the max I can get is, so it kind of went down a little bit. But I'm going to right-click and I'm going to put that back to the way I had. So I had to 0.1. And so that allows me to get to eight to one ratio and then 1.1 ratio. The next one is the attack. And I think I limited it just a little bit. So this, this is just the settings. Again, you can play around with it however you want. But you typically sometimes want to have a really, really fast attack, but sometimes you want to have a long attack. But it's very rare that my attacks like all the way open. And so I just kinda limited it to this so that it will. I'm here hands-on mixing. It's like I'm setting myself up where I can fully Max open this knob and I know that it's still within kind of like a sweet spot. And that's essentially what I'm doing here. And often I like to disable these interactive hints when you're learning the plug-in, these interactive, the hints are really, really useful. Okay, So that is threshold ratio attack. I didn't do anything for the release except again, just making sure that smoothing is enabled. The next one is the knee. So again, I don't believe I did anything. I just made sure smoothing was enabled because you want to be able to get the hard knee and the soft knee. And I'm telling you you get a totally different sound like if you're using your threshold and a soft knee and then like a super gentle ratio, you can kinda get really, really cool sounds, really controlled sounds. And that's the whole goal of this, this knob right here, I didn't do anything with, again, you can see it's green. And this knob here is the look ahead. But again with the patcher, I was not able to right-click and set that up as a global link. So you are going to have to enable that if you want that. Again, look ahead will allow. You'll notice that most with your attack. Okay, So when you are increasing the look ahead, if it's enabled, your look ahead, Just kind of. This plugin looks ahead into the Audio depending on how much look ahead you have. And you'll be able to hit those transients just a little bit softer, you'll kinda round them out a little bit more. And when you do use look ahead, you'll be able to use much less ratios. And again, when the plugin has these features, you want to be able to take advantage of them. Now the range is a sole powerful on this plug-in. Okay, So yes, the the pro c also has the range knob. And you can see that I have the same knobs. So the very last knob, again, I have eight knobs. The very last knob I have is the range. You can see right here. But the difference between the pro C2 and the Pro M B is that the range knob allows you to actually do upwards. Okay, So this is really, really powerful. And again, you guys can look up how to use the pro mb. This isn't so much for teaching you how to use it, just showing you how to set up for hands-on mixing. Okay? So again, if I am using this multiband compressor to compress my music. So let's say we breathe, we bring down the threshold to round here. Let's say we have half decent ratio, let's say like three-to-one or something like that. Now, if compressions happening too much, you can start playing with this range knob. And essentially what you're saying is you just want to limit how much compression is happening, even though compression might be happening all the time. But to our ear, we are limiting how much compression is happening and you can really smooth out a sound, especially like in mastering or whatever. So again, by having full control over the, all the knobs and sliders and getting hands-on. You're really able to hear what you're doing and get a great experience. The last two I want to show you is again, I just right-clicked the on-off knob and I did it like this. Okay, so again, you are going to have to right-click, you have to activate it, and then you can do this. And this is a setting I used. And again, that is just so that it doesn't have to be all the way at the very bottom, kinda gets a little bit of a buffer. And then like I said, I believe I tried right-clicking on the output and I tried the overall global link off of the actual plug-in. But I think it was kind of annoying that if I would unfocused the window. And so I just ended up creating another knob here. And I just linked it in the same way you can see. Let's just, again look in the very top left. You can see output. I right-clicked that and you can see I rounded it to the output level. So in the Pro and B, we go inputs, parameters, and you can see the output levels right there as well as the bypass that's also enabled. That is enabled because I just right-clicked and when activate. But so anyway, so we come back here to the controller. Here is the output. And I went over I global link. And this is the setting I had. Okay, So again, I don't want the output master volume to go under 0 because we are reducing the volume. If I was using this for like upwards compression or upwards expansion and all that kind of stuff, I may adjust this to be able to reduce the volume a little bit. And so for example, instead of 0.5, maybe I'll put it like 0.45. And then maybe I'd put this to 0.8 or something. And so as you can see, what that has done is it's allowed me to go under 0. Then it's brought me back up to that plus 12, so one sec. So I'm just going to delete this. I'm going to right-click override global link. Let me just copy this. And then let me just show you how it's working at the moment. And then let's just try to fine tune it just to show you. So again, the max I can go with plus 12. The minimum I can go is 0. Let's just say we want to start using s 13. 4-1 - FL Studio Stock Plugins Example: So in this video, I'm just going to break down how to get some hands-on mixing with the fruity parametric EQ to now you're, you're gonna get an okay experience. But the biggest problem with the, with the FL Studio plugins is that you're not able to turn the often on with your midi keyboard, with your global links. And like for example, because the fab filter plugins has a built in on and off, you're able to get that really good experience. Okay, So just like I was showing that when I use my midi keyboard right off, on, off on. And that's super important to be able to quickly compare. Fair volume comparison. Again, you don't want to spend forever on the often on because you're never going to move forward. But when you are applying some compression in context of the whole song, you want to make sure that the volume is similar. And let me just quickly share with you what I'm talking about. Okay, so when it comes to many of these plugins, this is a new feature they added in. And again, you can try this at a later date with the new updates of FL Studio. Maybe they improve it, but at the moment this is what happens. Okay? So if I right-click this and go over a global link. And again, I like to use, I like to use this slider right here for often on, right? So remember master volume off and on. That's what I've been doing for the fab filter plugins. So if we move that, you can see that right now nothing is happening. And it's kinda like, Okay, let's kinda weird, but this is what happens. You actually have to be on the mixer for it to be off and on. So look in the top left you can see that the global link is like it's blue right? Monitor. If I move this one, it's green. That means it's not routed to anything, but it is registering movement. It's reading midi data. But this one, it is actually linked. And if you can see what's happening off and on, but check this out. If I move this plugin down to the next one, it's still off, but watch this. Now it's moving the limiter. So what happens when you, So if I bring the parametric EQ to backup, what happens when you create the global link right here? It's essentially like this button. So it's not even like this button is attached to this plugin. It's just that they put this button right here on this plug-in while it's on slot three, k, because watch if I do this, you can see this is actually slot three. Check this out. Off, on, off, on. Okay. So I hope that makes sense to you. So what we did was when the parametric EQ to was onslaught three and I came here and I right-click the global link. It was essentially like I came here and right-click to the global link. So which means that if we are moving the plugin down or in different order, the global link is still on slot three. And so that's where you can't really get the hands-on experience and it kinda sucks. Okay. But I'm just sharing with you that that's why the fab filter plugins give the phenomenal workflow. But again, I am going to show you how to get some hands-on for similar workflow when you're mixing your music. Okay? So when it comes to the parametric EQ to what you wanna do is you want to automate whatever bands you use. Now, there are different patcher plug-ins and stuff out there nowadays that people have made. If you wanna get hands-on with in patcher, you can do that with all three like your midi keyboard and it's all the same thing. You just right-click. Override global link. Make sure you enable that smoothing to make it look good. And then you just simply just move a knob or a slider wherever you want to set up. You can also right-click and I believe that you can disable, okay, so you can disable certain ones. So for example, maybe we actually want to bring that one back. So let's just reset it. Let's just say we have 123, okay? Let's just disable all these ones. So again, what you could do is you could save this and maybe you want it for, but you could save this so that you can reopen it again and again. You can just go Save Preset as and you can either back this up or you can go Add to plug in database, and it will save it exactly as you've left it. Like for example, if I didn't have it boosted up, it would save it. But what I'm gonna do is let's just kinda put it in the middle. Let's just say we want this setup for our hands-on mixing whenever we are mixing our musical care. So the first thing we're gonna do is with the fab filter. What I did was I liked the left and right. So to move left and right, I like that as the first knob. So I'm gonna go over a global link. Let us do smoothing and we can move that. So there you go. You get left and right, up and down, right-click overall global link smoothing. And again, this is where you can fine tune how much you want. If you want it to only let go like down here or up here. This is where you can get into the formula mapping. And again, you can check out the other videos for how I was setting up the global mapping. Again, you can just copy and paste or do you just open up this window? You hit F1 and it's going to take you to here. And I believe at the very, very bottom of this page are pretty close to the bottom. Like here's all the different ones that you can set up if you want to totally customize. But again, as you saw throughout this course so far. I kept it pretty simple, right? So let's go back to novel one. Did this one, this one, it goes up and down. And then now we want to tighten that q and that's that, I guess BW. So I guess they're calling it bandwidth. So we right-click here. I'm going to click here. And now we can get, so sometimes you can only see it when it's increased. Okay, So there you go. So this is super powerful when you're mixing your music, right? We can get hands on. Boom. Now again, this one is a low shelf and a high shelf and then watch so for the very first knob is left and right, up and down. Then how tight the Q is or the bandwidth. Then you can also right-click the style care. So again, sometimes I found when it came to something that the style I did not enable the smoothing. I think it gave me a better experience. So again, you can see whether I can select different styles. So this is like the bell-shaped, this is probably the most common, right? We want to fine tune it. And what's really, really powerful with this is you can actually mix hands-on and you can do, you can do two different things. So watch this. If we grab this band and I click it, you can see that I actually cannot. I'm not able to use my scroll wheel. I'm clicking. I actually have to let go of clicking. And then I can use my scroll wheel and watch if I open up the pro Q3. If I click this, you can see, look, I can use my scroll wheel as a mixing. And again, this is like that FAB filter workflow, but you can do that with hands-on mixing. You can do two things at once. Let's just finish up setting up the other bands or be really, really quick. Again, if you want to bring a band back to the way it was, you can just right-click and go reset. And you can reset. Now, maybe instead of two, Let's just reset that one. Let's maybe disable that one. Because maybe enabling like this four would be better because whenever you reset it, it would put it right back there for you. As you start to make your music and as you start to use your plugins, you kinda start to think ahead and you're kinda like, okay, yeah, yeah, this is how I work more. Okay. So let's just, and then three, Let's just reset seven. And then three we will disable. So I'll just right-click that and disable it. Alright, and they think this would give a really good mixing experience. Again, don't think that four gives you a different sound. It all that matters is like when we go to the low end or the high-end, we're boosting the frequencies. It doesn't matter what band. They just give us seven bands to be able to EQ. But really when you're getting hands on mixing, you're probably not using seven bands. Three to four bands is probably what I'd suggest. So for example, if you wanted four bands, then maybe you can reset this one and this one reset. We should see the five K16. So let's disable the three ones that case. So there's, there's this one and let's just totally reset it. So there's the three. Let's disable the yellow. For example, if you want it to have four bands, something like this would probably be nice. But let's just keep it simple. I will disable this one, and I will disable this one. And let's bring in the yellow. So three bands, Let's just work with. And again, the same thing, so the left and right. Now what you have to do is you have to go to the next bank. And then now what? You don't have to, for example, you could stay on the same bank, but now it's the next three sliders with early, the next three knobs or you've got to. But I usually find that when I switched the bank, I just know that. Okay, I want that next band. And again, a band is one is a band for as a band, seven is a band. And I usually just find that if I go through the different banks, I can quickly just, I know exactly that same workflow like it'll let me just show you. So I'm going to enable smoothing. I want left and right. So what I'm trying to say is if I go from, I actually did that on bank one. So let's go back to bank one. Right-click overall global link. And we will move this. So let's, so sorry I screwed up there. So what I wanna do is let's just go. Oh see, I did link to controller, and so that's what's happening. So because I went linked to controller, that's a project link and it overrides the global link. Alright, so what we wanna do is we want to come here. We want to go link to control it. And I think this is good that you see that just so that in case you're screwing up and you can't figure it out. So remember there is project links, which is linked to controller, but we want to work with the global links. So everything is good here, right? So we have left to right. We have up and down, and we have tightened the queue or widen the queue. Now, in my experience, it's nice to be able to just reference that quick workflow and you just go to a different bank. Okay? Again, like I said, you can use your different knobs, but I think the different banks is way easier. So here is left and right over a global link smoothing. And we just moved it up. So there's that one. We're going to go up and down. It will smoothing. And there you go. And then we will do we will tighten the band right here. And then I'll just go to the next bank and we'll do the next thing nice and quick as well. So left and right. Again, if I wasn't talking, it's actually a quite a fast workflow went to kinda figure out what's going on. But again, you just want to make sure you keep that file backed up that port. Because, you know, in case you screw up and it gets really, really messy, right? So what I'm saying is you just want to keep a backup of this file and then you can be really aggressive, Have fun with it. And so now you can see that if I'm in Bank one, we're in band one right up and down. You can, again, if one is over here, It's not going to sound better than if we bring, let's say like four over here. So watch if we bring four over here, It's not like it's going to sound better. It's just that, it's just as now you have two bands. So there you go. So this is the hands-on mixing. You get a pretty good workflow, pretty good experience. Again, if I come back here to four. So right now I want to go with Bank two, which is blue. And then I want to come here, override global link. And we're just going to be able to adjust the different styles, right? And again, that's a notch. As many times. Sometimes, it's just easier with the most sometimes. And they are calling a bell shape, a peaking. Okay. Let's go to seven. So again, I gotta go to a different bank, seven and over a global link. And again, I will just move this knob. And that's this, the different styles. Okay, So I'll just right-click and go reset. Or maybe it doesn't reset the style. I think it usually does, but anyways, so we will just go Peking as well. And then now so bank one does number one, bank to does number four, and then bank three does number seven. We have left and right, up and down, and we also have the queue. Then we can also change the style. Now, the thing I want to share with you is you want to set up the master volume, the global link as well, okay? And again, so right now I'm in bank three. So you have to remember that. You always have to go back to bank one if you want to set up that up and down. So let's just hit play on this piano. And let's just say, you know, we come here and we're getting some hands-on mixing. And you know, it sounds pretty bright. But maybe you begin with it often on. And if you leave this open, you can be able to just work a little faster. So maybe we don't want that body back. Back. Again. You can see I'm getting the hands-on workflow again. To get back to that master, you want to go back to the main bank and you can turn up and you can turn it down. Now if you wanted to. Let's see. Yeah, So you're not able to right-click the compare, but if we come up here and go to the browse parameters, this is where we can see, well, what can we actually work with with this parametric EQ to? So we can do the main level. That might be everything we're allowed to automate on here. Again, you can right-click the different things to see the different settings of the plugin. But yeah, okay, so I think that's pretty much it for the parametric EQ to. I will quickly show you how to set up the fruity limiter. But again, all of this stuff just kind of applies the same way. So you have the limiter and you have the compressor, right? If you're gonna be using it as a compressor, I'd recommend putting your ceiling all the way to the top and your attack all the way to 0. And that way, I believe it reduces the latency. So again, if you want to set this up is the exact same way. And if you saw when I set up the proceed to when it came to using the mapping formula. If you want to restrict, then you can do that kind of stuff. But again, we're just going to smoothing. It's just the exact same thing. So we have the threshold. I personally would do the next knob as the ratio. So there's a, there's a ratio. I would go attack. The smoothing enabled. Here is the attack, here is the release. And the sustain is just like the hold. Okay, So when we have the proceed to we have the hold. That is like what like the sustain is. So again, I would suggest putting that to a knob. And then as you're mixing your music, just play with it and just try to get the sound that you're looking for. So again, threshold ratio, attack, release, sustained. And then if you want like the knee or whatever you want to adjust their right, you just set it up just just how you want. Now, check this. You can also adjust the curve, which I would highly recommend you do. Here's the different styles, right? So what does the curve? The curve is essentially just like in the pro C2. You have the different styles of compression. You can see over here I have the different styles of compression. By using the slider, you could set it up on the slider if you want to follow my fab filter approach. But I'm just showing you how to set this up off your knobs if you want to do that kind of stuff. And there you go. So lytic different styles. Then you also want your gain. So let's just right-click this over I Global Link, and then let's increase this. So as you can see, like this might be really, really aggressive as you're, let's say we hit Play. And let's just disable the other plug-ins. So again, let's just do this over a global link. And we will go times 0.5 and then maybe it's plus 0.5. Okay? And then this is where we can kind of play around with how we want to do this. I think I probably want this to be more aggressive. Again when it comes to the compression, usually we just want to be able to go from 0 up. And then maybe like 0.25. I think that's kinda what we wanted. And so I'm going to hit Accept. And so now the max volume we can get as nine and it goes to 0. So or again, you can come back here and if you wanted to put it back 45. And then we put this to like three or something and we hit Accept. And again that's just like the master volume. So we can go a little bit minus if we wanted to do upwards compression. And then with the hands-on, you're actually listening instead of like because when you use a mouse, you can only do one thing at a time, right? But for example, look, I can do two things at the same time, which is kind of more like if you're in a studio, like if you're using the threshold and the ratio, you can kinda do it the same time. The same thing with like the knee, right? You can see I'm moving the knee and you can see maybe I want to bring up the threshold and have a softer knee or maybe I want to bring it down and I want to have a much harder, nice, which means that it's only hitting the peaks k, So it's not really getting into the body of the sound. And then, yeah, so it's just like such an amazing workflow. 14. 4-2 - FL Studio Stock Plugins Example: Okay, in this video, I just want to cover a couple more FL Studio stock plug-ins just to get you up and running so that you can kind of understand if you want to get hands-on with them. Okay? So with the fruity limiter, I wanted to show you that you can actually do upwards compression. So when I was talking to you about going minus and plus, so for example, let's go to the override global link. What I would do is let's just go maybe last half. And I just want to show you upwards compression. Let's go 0.4 and then we will go like 0.4 as well. So maybe something like that, maybe 0.35. So because this upwards compression in the fruity limiter, can you actually get pretty aggressive? So again, the top-left, I can get minus six and for a boost I can get plus nine. Let's just say okay. So again, if we're gonna do upwards compression, so if we're using the fruity limiter, I like to take the limiter go all the way full and the attack to 0. So let's just hit play here. And so now how this upwards compression works is we're going to bring our threshold just below some of these peaks. And if you bring the ratio back the other way, this emphasize some of those peaks. It makes the peaks louder. You Howard getting distortion. Turn on the volume. Can you hear what's kind of emphasizing so we can actually bring the knee back as well. The lower we go. Nice and fast. Okay. So that sounds kind of weird, right? But what you do is you can just be blended in. That would emphasize something like the kicks and the clubs and stuff like that. Again, I'm just showing you that if you're using hands-on with the fruity limiter, you may want to adjust it so you can go all the way back and you can go all the way forward because normal compression on this fruity limiter, which is a compressor as well, is something like this. So then maybe you want like your knee or whatever. So if you put your knee like that, this would be kinda like normal kind of compression. You can adjust your need to fine-tune. But I do find the fruity limiter quite set. I find it pretty hard to use honestly like compared to the proceed to, the proceed to is just, it's more predictable. It's easier to see what's going on, but the fruity limiter is very powerful. K, Again, you have your different curves settings and again, set all these up by going Link Global Inc. and put it to a knob or a slider. And I'm telling you when you're getting hands-on, you can have some tons of fun and figured out the sound that you want. Okay, so let's just load up some other plug-ins. Let's load up like, let's say like the fruity reverb. This is on the master track, so we're going to hear how it sounds will go into like the verse or something over here. Okay? I'll highlight just this area just by right-clicking holding. I hit Play. Have reverb on the whole thing here, right? This is what it would sound like normally. And let's turn it on. Crease it. So if you really wanted to, you could right-click this, go to override global link. Again, smoothing. You can enable it. So we're just keeping like the very high end of that reverb. Bring it back. If you want to adjust your arm, your wet, you could try that. So one heads up as some knobs, you cannot adjust in real time. So in other words, when the audio is playing, you can adjust them. For example, this pre-delay, I guess, because it actually has to kinda like look ahead. And then once you let go, then it reads the audio again. So let me just show you that will turn this up so it's really audible. Castle watch it. Move this knob. We have no reverb, right? So as soon as I let go of the knob with my mouse. Okay. And again, it's a pre-delay is just delaying that reverb, helping it stand out more, but you want to fine tune it so it doesn't sound so audible like that many times for like, again, this is on the master track, but if it's a snare, let's just go to the clap, for example, or disable that. So here's a snare, I'll just click this, will drag over this reverb onto the snare. And if we listen to the snare, guess so if we adjust pre-delay, watch, if it's too long, you're going to hear the snare hit and then the reverb. Care. So let's wait too long of a delay, but if you bring it back a little bit, okay, still too long. Still too long. So watch, I'm going to copy this value of what we bring it back. So what's happening is the reverb will actually kinda get lost in the mix. Sometimes if it's like this, but if you have some pre-delay, the reverbs is actually louder. And when it's louder, you can actually have a less tail, which means that the reverb can be louder, a less tail, making your reverb more audible but cleaner. Okay. So again, that's just kinda the hands-on stuff. And again, swatch, if I come to this clap, you can see that I can move the look ahead and I can move the wet, right? And if I come here to the master and click on this reverbs and obviously the other reverb, Check it out. Here's the Loca, here is the wet, right? So you could do stuff like that. And essentially any plug-in that you open up inside of FL Studio allows you to do that. So as the fruity course, if you want to get hands-on with this, this is a lot of knobs, but maybe like the main ones that you might want to adjust is the delay. So why should we go override global links? Move it. And again, that's all you have to do. And then if you want to apply the mapping formula stuff, again, just go back to the video about the mapping formula. Can you can select if you want to do stuff like this. And again, if you want to limit the range, this is the easiest way, just like 0.25. And so now we've limited the range. The less I can get as this, the most I can get is that. So if I hit play or if I write. So again, I just wanted to break down some FL Studio plugin is just to give you an idea. It's just a matter of opening them up. Right-clicking the knob, going override global link. But mainly in the last video, what I showed you was the parametric EQ to, I showed you how to get a pretty good workflow with it. Again, the thing that kinda sucks that you can't really turn it off and on in the same way, but you can get your master volume set up. So that or actually, sorry, what I did was I didn't move it up. So if I have my my my actual fader, right, so you can adjust it like this. And then if you want to adjust your different bands. So for example, let's just say for k, So we'll take four. So I'll right-click, we'll go over a global link, select this one. And so again, if you are boosting or cutting whatever, you can just kinda compensate for that. And if you keep your mouse up here as you are mixing, like you can mix with just one hand if you want, and then you can disable this at the same time. But again, it's just not the exact same workflow is like the FAB filter plugins. But essentially that's it. You open up. Any plug-in that you want. Could be a stock plug-in, could be a third party plugin. And you figure out, how is this going to benefit you by using hands on, sometimes it is just easier using the mouse. What I showed you in this course based off of the fab filter plugins, I, I truly found that it really gave me hands-on and the workflow like that I was always kinda looking for. It allowed me to listen to my music. It allowed me to turn off and on the plug-in again because it has that built-in off and on, which is really cool. Alright, so I hope that just gives some clarity into getting your FL Studio plugin setup for the hands-on workflow. It's just a matter of just right-clicking a knob going over our global link. I do suggest doing the smoothing. If you want to do the mapping formula, just check out the mapping formula video. It'll show you how just different things you can do with this. If you want to fine tune it, you don't have to do anything with it. But again, you can click here and see what they did. Just hit Enter. And so as you can see that that's an air. So I'll go back, hit Enter and it'll, it'll tell you if it compiled properly. And that's pretty much it. Okay, So again, this course was mainly just for the fab filter plugins, but I just want to show how you can get hands-on with the FL Studio plugins. And it's just a matter of right-clicking, going over a global link. And there you go. 15. 5-1 - FabFilter Mixing Example: Alright, in this video, I'm just going to go through each of these fab filter plugins that I've set up with you and just show you the kind of like a real-world setting of how I would use them. And hopefully it just helps put everything together for you. Okay, so I'm just going to hit Play. We'll open up some plug-ins, will play with them nice and quick. We'll go to the proceed to we'll go through the pro Q3. We will also go through the pro NB and I'll load up the patcher one. And I'll just do that right now and then I will just disable it. But we'll play with that. And then we'll also load up the pro L2. Or if you want to use any other third party plugins or any other fab filter plugins. I showed you how to set it up and all the same theory applies. Okay? So let's just hit Play and let's just listen. Okay, Let's say the snare. So let's just say we want to bring this over. So I'm holding down Alt and my left arrow. And I'm going to push my middle scroll wheel to get that same color. Push this and I will go snare sub hit F3. Let's just see how these are routed. So I haven't routed them to any, anything else. And let's just go quickly to the drum loop. So we got the drum loop and we have the snare. So I can see that they are layered. And so what I will do is I'm just going to click them, right-click and wrote to this track only. Okay, So what's happening is these two sounds are going to a snare sub, and let's just keep, keep playing. Okay, so let's open up an EQ. If I wanna get the hands-on mixing. So here we go. So I'm going to use my third knob. This is all what I have to create a band. And I do have the auto gain on which is going to help me just hear a little bit clearer of what I'm doing. Not to say this is going to sound good, but right around here it kind of sounds like box you were to ever write, tighten it up a little bit. Now on my midi keyboard, I can hit for it if I want to speed it up, get back into the drum loop. I'm gonna bring that back a little bit. Maybe, maybe I kinda like it around that area. Again, sometimes if I like it, you can left-click on it and you can just kinda bring it back with your scroll wheel a little bit that way you don't screw up anything. If one another band, Let's just say we go recruit another band, right? Let's just say we want to bring out, I want to bring out kind of like little the fundamental. They're tightened up a little bit. Bring it up, bring it back just a little bit. So again, my left one is left to right. And then the second one is the volume. So let's just turn off and on. Let's just hear how it sounds that I improve it, that I ruin it. Again. I'm a bank two, so I have to go to bank one. Now it goes off and on. So let me bring back down the volume just a little bit on that one. Again, I have to look at the screen right here to seeable to soft takeover. So I have to actually reach the value that I can bring it back a bit. So let's just say we're happy with our EQ. For example, I'm going to open up the proceed to. And now we can get hands on compression. So again, the auto gain is enabled. Let's just disable the auto gain. So again, the auto master gain, I'm going to turn off. Let's just go back a little bit. So good, excuse my number pad. Come back to here. So shrunk the volume off. The snare hits a little bit bigger. Let's try just a different style or compression. So what we can do is watch, I'm just going to use my scroll wheel slip. We can copy it over. Let's go to a different style of compression. Again, I'm just kinda doing this fast with you right now. Different style compression. Let's maybe go like the PDO maybe will be more aggressive on the ratio. Let's bring that knee hard knee. And the actual threshold will bring down more. It's gonna sound aggressive. But check this out. Maybe we want to bring that range back. We don't want as much compression happening. Bring up the volume. And just look in the bottom right here. This is by Ambassador volume. The attack maybe faster release the hold, maybe losing fluids a whole. So let's just usually when I'm mixing, I kinda remember where they are. But it's kinda like a workflow thing. So Chris, just see, so there's the hole gets pulled back just a little bit in volume, turn off and on. The ad that had more. So now I can go before and after. So let's hit play again. We're often on. Okay, so let's just do a quick example there. Let's just load up the pro and B and delicious work off of that snare again. So I will just load up the pro MV over here. Again, this is through patcher or it's, let me just highlight all of these so we can see just how it's moving again. So when I move a knob, it is affecting each band. At the same time. Let me just hit play now not to say that you need to compress your stuff this hard, but I'm just showing you just how I work and how I can get hands-on to find the sound I'm looking for. Again. Let's bring up the threshold a little bit. Again, we have our ratio, which is just right down here. Again, I have my master volume off. So as much louder. So let's put like me like four. Still pretty loud. There is the look ahead. Now I have enabled look ahead, which allows us to enable this or work with it. So we have a range which is super powerful. Again, I just want to be focused in this window, I believe. Yeah, so there's a range. So in other words, we're just saying that, you know, we can compress really, really hard if we want to. But then what we're saying is we want you to bring back that range and we actually don't want that much compression to happen without it. Like the snare sounds like it hits this fuller little bit more body to it. Hit play again. Let's make that, that releases a little bit faster. Attack. This compressor harder. Again, I can adjust the knee. Soft or hard Ni. Okay, let's bring up that threshold a bit. Cramped the volume. Fast release. Guess. So I'm just showing you that we can get hands on mixing and just really fine tune our overall sound. I believe the look ahead is right here. This might be allowed now. Right? So again, just showing you you can get the hands on workflow. Let's just load up a limiter on there. So again, I don't use a limiter too often when I'm mixing, but you can. And again, I showed you that we set it up just like this. It looks like it's smoothing is enabled, right? So we have that, we have the off and on and I even on this one if you want like the one-to-one. So for example, once we hit play, It's way louder. But this is the power of being able to mix with similar volume. So I increase or I turn this up, which is not one-to-one. So I'm not clicking that on as a midi keyboard, or I could just click it on, or I could disable it from the midi keyboard to. So if I increase it, it's on. So now watch this. If I increase the volume into this limiter, we're gonna get a lot of gain reduction. But we're actually going to be able to hear the impact on our sound. And again, so I have the attack. Sorry, sorry. There's the attack. I think usually I would like my attack to be here, but, uh, but that's okay. So without it, with it. Again, not to say that this is going to sound good at all. I'm just sharing you, share it with you. Just the example. Right? We turn it off for back a little bit. So no effects. Pretty quiet. But the effects back on. So it's pretty loud. So what I'll do is we will just turn them out this back a little bit. Not turn off and on. So what I'm gonna do is I'm going to turn off and on here. Print their volume. So you can hear when we enable and disable it through FL Studio, there's a little bit of a glitch there, right? And that kinda throws off like you're hearing a bit. But again, not to say that these settings are good, but it does sound like that snares a little bit fuller sounding. Again, we can, we can try a different styles and this is where I would do the copy, then go over to B and we can try a different style. Again, I'm just being really aggressive just for the sake of the course. Not to say that I would actually do this in my own mixing, but it doesn't sound too bad. They, I can kind of hear some kind of like distortion going on right now, but with a different setting. Moderate done a pretty good. So again, I hope that kinda gives you an insight to the hands-on mixing. Again, you can go to your master track and you could do the same thing. Typically in mastering were being much more subtle on our moves and on our stuff. But when we are mixing our music, you can be super, super aggressive. And I hope that kinda just bring some clarity to when I'm using the pro Q3. Again, you could be cutting as well. I was just more boosting in this video. The proceed to the pro mb. Again, I had to set that up through patcher in order to get the the knob to be able to control the threshold to that is controlling all of them, right? So if I come to this one and I decrease it fully, so minus 90, you can see it. Did that fully, right? But because of my global link, you can see that I can actually go to 0. So if I want to go to 0, I can just use my mouse right here and it can go to 0. But when I use my threshold, you can see I can only go to minus 60. Okay? Again, that was just like a mixing decision I did so that it's kinda like the sweet spot. My knobs always like, I'm sorry, that's because I'm using my mouse. But if I use my midi keyboard, so minus nine to 60, right? Then again, when it comes to the limiter, I don't always use it very lightly in mixing, but it is a very powerful tool. It's a very, very aggressive type of compression. And as you can see at the very, very last plugin, and I use the loudness meter that way I only have to use one plug-in for my limiter and my loudness meter, and I can get their hands on mixing. And so like I said, when I was using when I was doing it with you, I think I would like to set it up over here. So for example, I think I would like the attack to be on this knob actually. And I would set that up. As you go, you're going to figure out where you'd like your knobs and where you'd like things. And I usually find that if I'm mixing a lot, like if I mix like in a week, if I work on like five different tracks, I really know where all these knobs are and unable to work very fast. I haven't mixed in the past week or two, but there you go. So that's the hands-on mixing workflow with the fab filter plugins. You know, you now know how to set them up. And thanks so much for watching so far. 16. 5-2 - Omni Mode [BONUS]: All right guys, In this video, I just want to give you a quick little overview of the Omni. I don't really fully know how to use it, but I'll just show you what I know about it. And it's a pretty cool little things. So if you want to keep using the same knob over and over, then you can do the Omni. So again, you can come to this page, which is the linking and the external hardware controllers about the project links and the global links. And if you just search omni, there's a couple of different sections about omni. And again, you can read more about it, but I'll show you where to find it in FL Studio. Okay. So let me just load up everything here. And I'm just gonna go to a bank. That that's what happens if I'm not in preset modes. So if I'm in present mode, everything works normal. So I'm in bank and I'm just going to use, let's say this knob for omni. Now again, if you use this, I believe it's still like a project link and it overrides the global link stuff. Okay, So let's just say I want to use this knob for what's called Omni. So if I come here, right-click and I go link to controller, you can see this Omni mode. And if I did that with the overall global link, you can see omni mode is not there. So it's only for the project link. And I believe again, it's going to take over if this was set up with a global link. So here we go. So this is omni mode. So you can see I can move it up and down. Right-click link to control it. Let's enable smoothing, because again, it looks a little bit better. Now, omni mode does, is watch this. If I go to nine, boom, it's all set up the same way. Same way. Okay. So this is a cool way if you want to mix just really, really quickly. And I just want to quickly again, show you both omni mode. So again, if we come up here and if we right-click and we linked to controller and we go omni mode. And if we move this, you can see that we are now moving the panning on the piano and it's doing on the mixer. So let's come here. Linkedin controller, and that's where the remove conflicts can come in. So watch if we come over here, right-click linked to control it removed the conflict. Now it's only going to work on the panning. And if we go to the base, now what does the base panting? Panting, panting if we want it to be? The volume. Again, remove conflict is on Omni, remove it. And now this would only do like the volume for these. So again, you can set this up and I just wanted to quickly share that with you. That is just to do with Omni mode. So if you want to use this one slider for your mixing, you could totally do that, right? For example, if there is one slider that you don't use for anything else. Like let's say, let's say Is this slider or it could be like this slider or whatever you wanna do. You could set it up so that you have one slider for your volume or something. Again, I don't do that, but I just wanted to do it just for completeness of this hands-on mixing kind of stuff. 17. 5-3 - Mackie Motorized Faders [BONUS]: Alright guys, so I'm just going to do a quick bonus video about the Mackey control universals. So this is actually the old school Mackey control universal. They now have a USB version, but this is like the old school where I need the two actual old-school midi cables. And I need a special audio interface that allows for in and out of midi equipment. And so I'm just going to move this. And so you can see that this is, this is what you call a motorized fader and check this out when we go between. So this is a different banks, just like on the midi keyboard when I switch between the different banks, this is the same thing and check out this, they move super, super powerful. So again, this is just how it looks. I just wanted to show you what nice and big, right? We have our knobs, but the sliders is pretty much like the coolest thing, like you actually get hands on mixing. So let's hop into FL Studio. And you can see that on my mixer. You can see that it's actually moving and check this out. If I use my mouse to control that, watch this. So no hands and it's moving by itself. Okay, So pretty cool, right? But the thing is the Mackey control universal, just like the way it's set up. I just couldn't get it to work for a nice, good workflow. Just like I showed you with the hands-on mixing with the midi keyboard. Okay, so like I said, I really wanted the hands on workflow when I first got into FL Studio and I put some money into this thing, this thing I think was like maybe $800 or something when I bought it at the time, like 67 years ago, I've kept it around because it is such a cool little unit and maybe one day I can get it working. But like I said, I was not able to get a very good experience when it came to using this Mackey control in a real-world setting. But yeah, so you just go through your different faders. You can see that they're all just moving things around a little bit. But yes, like if I'm in the piano, if you can see piano, it's kinda like moves. Turn on the piano, solo it out. So it looks cool. Okay, don't be deceived because I was deceived too. I thought this is so cool. But like I was trying to tell you, the midi keyboard has by far the best hands-on workflow that I've experienced so far. And that's why I wanted to create this course on it. And I just wanted to share this with you just because I have it laying around. And you may not have your hands on something like this. And it's so cool. Like if we could get a midi keyboard like this, I would be willing to pay for that if everything else was good. Like if the keys, we're good. If the knobs of the motorized faders, we're good. I really think it would allow us to get a super cool hands-on experience. But yeah, so like you go to your different parameters. And when it came to EQ, for example, if we wanted to use EQ, you can actually hit the EQ button. And then if you look down here, so I'm gonna piano, you can adjust like the built-in EQ and you can do stuff like this. And in that sense, it's pretty cool. Let's just see what I'm doing here. Again, I haven't used this in a while. I pull it out. I was trying to play with it. But yeah, it's like for me like I want to use my plugins. I like using the FAB filter plugins or even the parametric EQ to. But it's like you're kind of stuck using the built-in EQ. And yeah, just in terms of workflow, it was tricky. It's always just tricky. Like I always found that as soon as I was getting a good workflow on this thing, I always found it up back to the mouse. I just always like that. And with a midi keyboard, typically because it's right in front of you. You've got your mouse, you go to your midi keyboard, then you go back to your mouse. And it's just kinda like it's just a way better experience even though you don't have the fader eyes, motorized faders. I go back to, I think track or something. Yeah, I haven't used this thing in awhile. But like I said, I was deceived. I thought it was really cool. Don't be tricked. Don't be thinking that, Oh yeah, I need this because I don't think it's set up very well for FL Studio to get the same experience which I taught you in this course. If you want that hands-on workflow. So honestly the best workflow is just get a nice midi keyboard semi way to keys the oxygen Pro. I do like I'm telling you, you're gonna get a really good workflow with the hands-on, with the midi keyboard. Something like this could be really cool. But in its current state, I see it taking a lot of scripting, in other words, a lot of code to get this thing up and running to the point where it can be so powerful. Because this is maybe this is built a little bit more for just kinda adjusting levels and stuff. So as you can see, I can go from my piano to my base, to the keys. And again, if you are adjusting them all at different levels, you can go through the different inserts individually or you can go to the different banks. And again, it looks cool, right? Like this is, this is what we all want when we're making our beats. Him were quote unquote in the studio. Because a mouse, even though always tell you guys that the most is by far the easiest way to do things in FL Studio. When you get hands on. Hands on is like you're actually feeling like what you're doing in the music. And again, you can also use two hands, whereas a mouse typically like if I load up the parametric EQ or just like the single band compressor, it's like you can only use one thing at a time with your mouse. But that's it, That's it for this video. So the takeaway is something like this is so cool, this is all what we want. But I don't think it's set up very good for FL Studio, whereas the midi keyboard, like I showed you, is the approach that is more affordable. It's easier, it's more customizable. You don't have to guess so heavy into code and stuff like that. Because again, FL Studio has Mindy scripting which allows you to set up any midi device nowadays however you want. But there's a lot of work involved in that. And by doing it this way, by just right-clicking on a knob and going global link and using the knob on your midi keyboard is like no coding involved. Fl Studio, like the image line development team, they've done all that stuff for us. We keep it super simple, we do that. And then again, you just want to make sure to keep that this little file here, right? You just want to make sure you back up this whenever you're doing all your global link stuff. Okay? So, okay, I got one final video for you guys is a little conclusion. I hope you enjoyed this hands on mixing course, and I'll talk to you just in the outro video. 18. [OUTRO] - Hands-On Mixing in FL Studio: Hey, what's up, guys, gratuitous here. Thank you so much for taking my hands on mixing course. I hope you guys enjoyed it. Alright, so again, when we use a midi keyboard, it's not like that Mackey control universal that you just saw for the hands-on mixing. But the problem with that Mackey is that it's not really set up for the fast workflow that I've been showing you in FL Studio here. Okay, So when it comes to our midi keyboard, by using the global links, we are able to set up each knob how we want. We can do it over our different banks, okay? And you are able to get such a good workflow. It's more affordable, it actually works and it's totally customizable, really, really fast. Again, that Mackey, Yes, It's motorized faders. I would love to be able to have motorized faders on a midi keyboard, but the price, I think, would get quite steep. There used to be one that I know of, a midi keyboard with motorized faders and I think it was through Barringer. I think it was I don't know the name of it. But you can look up Beringia, motorized fader, midi keyboard. I don't think, I think it's discontinued now. But anyways, so that's essentially this course. Okay, so I am using the M Audio oxygen pro midi keyboard here and just a quick recap on it. So I have a free media script available for you and that is on the image line forums. Okay? And what that's gonna do is it's gonna get your transport buttons set up for you. Your stop your play your record, your backup bar, you're Florida Bar, and your loop. The loop buttons pretty important because it switches between song and pattern mode and not all midi keyboards off for that functionality. This also has semi way to keys and I also highly suggest a 49 key. I understand a lot of people think they want to 61 key or they want a smaller midi keyboard like 25 key, but a 49 key gives you tons a playing space. You have your octaves. It's more affordable. I'm telling you this is like the best midi keyboard which I've experienced personally so far in my beat making career. It's pretty jam-packed. You have all your sliders, you have all your knobs. Okay? Now, in addition to that free media script on the image line forums there you will also see my premium add-on. Now you don't need it, but it will give you the exact workflow that you saw me show you in this course. So for example, bank one is orange, bank two is blue, bank three is green, bank for is white. But again, most midi keyboards are able to switch between the bank So you don't have to have the oxygen per row. And again, you don't have to have the premium add-on. That is just going to allow you to follow exactly what you saw in the course. But you can open up the audio oxygen Pro preset editor. You can set up different CC numbers for each bank yourself. But again, if you just open up the preset editor, you loaded my premium template. It just does it for you and you're good to go. Okay? So if you have any questions about this course or if I've left anything out, you guys can send me an e-mail and high and it's gratuitous.com. I'm just an e-mail away. I typically respond back daily. Okay. I will get back to you really, really quick. If you could leave a review, I'd really appreciate that it helps. My courses here get ranked higher and check on my other FL Studio courses. I have tons and tons of FL Studio courses. Okay. So my my real name is Riley Weller, my artists and producing them as gratuitous. Thank you so much for taking this course means a lot to me. And again, if you need help, just send me an email. I'm just an e-mail away. Thank you so much. I'll talk to you in my next course.