Transcripts
1. Intro: You've probably experienced
this as a singer, rapper, or engineer after
watching tons and tons of tutorials on
how to mix vocals, you are still not reaching
your desired results. So welcome back guys
to another video. And in this video
I'm gonna show you a step-by-step what
you need to know about how to record vocals
in your studio bedroom, or maybe record
someone else's vocals. A lot of tutorials show
you how to mix a vocal, but it all starts
with the recording. So those videos don't show
you the critical steps. In the beginning, I
see you like this. Could the world's
best chef cook and amazing dish using
****** ingredients know? And the same applies to mixing using shady samples of sounds makes it pretty **** hard
to achieve a good result. So my golden rule is
it's mixing not fixing. So starting off with a decent vocal recording
makes everything much easier. And this is exactly
what I'm going to show you in this video. For a silly, I've invited Bob, who is a rapper, beat maker and sound recording
engineer, fun effect. I've known him since primary school and he just
released his new album, wishes scouts outside stimulus, it's out now the link will be in the description and it will mean a lot if you check it out. So what exactly will be
covered in this tutorial? So frozen, I'm going to talk about the equipment
which you need. So we're going to talk
about the microphones, audio interface,
and cables done. We're going to talk
about a little bit about the room treatments,
some simple tricks. And I'm going to show
you how to regrow the vocal mix of vocal and eventually master
the whole track so it's ready for release. And this is a step which is missing all of those makes it. So we're basically
going to show you how to start from scratch and eventually end up
with a final product are also giving away
a free vocal chain. So this will be a project
which you could just open up and start with growling and
everything is set ready. The link will also
be in a description. So what is being said? Let's get started.
2. Which Microphone Do You Need?: So first we're going to
talk about microphones, and there are three main
types of microphones. So first, let's start off
with a dynamic microphone. Dynamic microphones are the most robust and reliable
microphones available. Dynamic microphones
have a cardioid, polar patron or a
unidirectional bathroom. And it's basically means
the microphone will pick up the sound from where
are you pointed at? So right now that microphone
is pointed at my mouth. It is basically remains is
just recording the sound from a mouth and nothing from the side or from
behind the microphone. So it is basically
means it cancels out all the sounds for Maroon, which you don't want. €1 coin. Being unidirectional,
allows you to pinpoint a microphone
where you wanted, which can be very useful in a room which isn't
well threatened. Dynamic microphones also tend to boost the mid and
high frequencies, but have a little bit
of a roll of when it comes to the lower frequencies, but it also really
depends on the voice and also tends to make the recording a little bit more warmer, which may not be as accurate or as pure as other microphones. So the second main microphone
is a condenser microphone. So condenser microphones are a little bit more sophisticated
and dynamic microphones, but that added
sophistication comes with added cost and fragility. But when we put price to
the side for a melon, the condenser microphone is way more balanced than I
then gnomic microphone. Also, the quality and
accuracy of the recording is way higher than a
dynamic microphone, but a condenser microphone
is also way more sensitive. So they aren't great
for loud sources, but they are a well-balanced, great for picking
up soft sounds and, and a lot of D2
to the recording. And it also tends to have a
little bit of a high bump. This will add more clarity
to your recording, but that's something
which also really depends on the type
of voice you have. M. This will make it sound more
natural and not muffled, as well as the cardioid pattern. A condenser microphone is both bidirectional
and omni-directional. Bidirectional
basically means it can pick up sound from the
front and from behind. An omnidirectional basically
means it's picking up sound from all around the microphone when you're recording
in your bathroom, the omnidirectional
microphone isn't the way to go because it
cancels out nothing. And this makes it pretty
**** hard to get it clean recording condenser
microphones come either in a large
diaphragm and small. So this basically means how
large are the diaphragm is. The more low frequencies
is picking up a smaller, more high frequencies compared to low frequencies is picking up a condenser microphone
also requires a 48 v phantom power
in order to work. So before you purchase
a condenser microphone, make sure to check out if your audio interface is able to supply this phantom power. But we're also
going to cover this in this video later on. The third type of microphone
is a ribbon microphone. Ribbon microphones are also the worst thing or a bad thing, depending on who you ask, they are by far the most
expensive and more fragile, but they're also very sensitive. Ribbon microphones are
also bidirectional so that picking up sound from the
front and from behind. And they add an Atlantic warm
feeling to your recording. So if there's something
which you want to go for, you maybe should consider
a ribbon microphone. But if you're a beginner or
buying a row microphone is basically the same as renting and expensive study
on Los Angeles, so it's definitely overkill. There are also more sub-types when it comes to microphones. But just for the
purpose of the video, I'm going to cover those three. So which one should you choose if your room isn't
that well graded, you should definitely go for the dynamic mic and especially
a unidirectional mining. So this one picks up sound
just from your mouth, cancels out anything
else and just makes it way easier to
get a clean recording. And most of the cases, there are also the cheapest, but it also depends
on so many things. So e.g. the voice, does your voice contain a
lot of low frequencies? Are high frequencies, so there
is no exact answer at all. So it's something which
is really specific on what you want to achieve when it comes to
recording your vocal. So let's create a
kind of conclusions. So dynamic microphone
is the best way to go. Your room isn't
threatened debt well, so when you're
just starting out, I think personally you should definitely check
out a dynamic mic. But when you are a
little bit more advance, your room sounds pretty good. You should definitely consider a condenser mic because they are way more balanced
than a dynamic mic. And I think this gives
you the possibility to create crater and results. When it comes to
ribbon microphones, I do not recommend
them when it comes to picking a big or a
small diaphragm, it depends on how much low frequencies
your voice contain, but in the end, it's something very personal and specific.
3. Audio Interface and The Importance of Cables: Now let's talk about your
recording and the face because this one is just as important
as your microphone. So getting a high-quality
audio interface enables you to get high-quality audio in
and out of your computer. And there's also
enables you to connect essential studio gear
to your computer, whether you need to know
about an audio interface. So let's talk about
the connectivity, the audio resolution, the amount of analog outputs, the 48 folds, phantom
power, and the pre-amp. So I highly recommend
this focus right? Scarlet to i2. I'm using it right now. And I think this one is the
way to go for many producers. So let's open up the
comparison table and the connectivity is USB-C. So you don't want to
use a lot of dongles. They will add extra
noise to your recording. Protocol is still USB two dot 0, but that's perfectly fine. As you can see, this one
includes the 48 folds, phantom power, which you need to connect a
condenser microphone. This one has two instruments, inputs, those are on the front. Those XLR inputs right
here with two k naps, e.g. you want to record
your voice and e.g. guitar. This one is perfect
and the audio resolution is 24 bits at a 192
kilo hertz rate. And this is also perfectly
fine for your home stereo. I should highly recommend
you are getting this audio interface and make sure you pick the
third generation, which is the most recent one. And this one also includes two line outputs for the
right and left monitor. The Scala to i2 provide you
with everything you need. And I think it's around $160. So it's definitely
an investment, but I think it's worth
every penny. So e.g. I'm using these Karla to i2
first-generation for I think almost six years and it's still handling
everything perfectly. So that's all you
need to know about other interfaces
or run out cables. So why spend $1,000 on your laptop and get
the cheapest possible? That's definitely
not the way to go. Buying quality
cables is important. Make sure you buy
shielded cables. Shielding reduces noise,
and this is something we should definitely
don't want when it comes to recording vocals. And it also prevents
impact from signals, e.g. your phone or other
electric components, which is also called electromagnetic
radiation shielding. Brands crosstalk from
cables and near each other. So cheap gables increase noise and could add buses
to your recording. So make sure when
you buy any cables, the cables are high-quality and those cables last a long time.
4. Room Treatment: So right now, let's talk
about the room pregnant. Printing a place
where you record your vocals is very important. You could invest a
lot of money and your microphone audio
interface and still not reach the desired results for writing a room begins with reducing background noises such as
a fan or an open window. So reducing background
noise, e.g. a fan of your PC is
something which a microphone could pick up and you
would definitely want to avoid noises like this. So make sure you eliminate
every sound in a room. And it's also
depends, of course, on the microphone
which you are using. And this will determine how
your room should be traded. So the idea is to
dampen the sound so it sounds like
a blank canvas, but you don't want
to **** bit too much because otherwise your vocal
will sound completely dead. So room 3-5 ft is perfect
for recording your focal. So e.g. at a bad some curtains, a carpet will definitely
reduce Echo or river and room. And this is something
you definitely want to avoid when it comes
to recording. A vocal or a small room
will usually muffle the sound because
low frequencies will resonate more than
high frequencies. And this makes it way harder
to create a clean sound. And a room which is too large will cost a lot of
echoes and reverb, and we'll definitely need
more room treatment. So take a look at your
current room and make sure objects which absorb sound. So I already mentioned
curtains, bedsheets, carpet, or bad, those
will all absorb sound. E.g. a, plain wall will
just reflect the sound. And this is something which
would definitely want to avoid if your room has
a lot of plain wall, Shu could maybe use
some acoustic panels, are some shelves, anything
just to fill up the room. And this will end the
ends, reduce reflections on your wall and if your
rooms spreading goods, you could also improve your recording by using
a reflection filter. So e.g. if you lookup reflection filter on
Amazon look like this. They aren't that expensive and definitely will improve
your recording. Our reflection filter will
block unwanted sounds and reflections from your
room and you will end up with CRISPR and
clearer audio, but something which
you have to keep in mind if your room some ******, a lot of reflections, the reflection filter
will not solve it. So they both could
improve your recording. So when it comes
to room treatment, multiple factors will influence your final voice recording. The main thing,
you're just wanted to avoid these reflections
in your room, which cause reverb or ACO.
5. My Personal Advice: I think I covered everything about the equipment
you need to know. But first things first, the best gear as the
gear you already own. So don't purchase new things
which you don't need. And also don't compare
your vocals to industry vocals because they are using just expensive Mike's. Most of the times
they are recorded in a study of which is
fairly rare threatened, and you just can't
compete with them. And the simplest improvements
make a huge difference. Make sure to improve
step-by-step. Don't take all the
steps at once, but make sure to improve step-by-step to
maximize potential. And this is exactly
what Bobby G did when he starts recording,
has wrapped vocals. So right now, he's
going to continue that tutorial and I
hope you guys enjoy it.
6. Intro Bobby G: Today I'm going to show
you what went into the recording process for
my song, the warm-up. I'm just going to show you
what went into accordingly, mixing it, mastering it, and we're going to walk
through the whole process.
7. Recording and Mixing the Rap Vocals: First things first, you
got to pick a beat. Make sure you don't
pick a whack. We don't pick a beat
that's not well-mixed. If you don't like the mix
when you're recording to it, probably not going to like it after you're done
recording to it. So make sure you pick the right beat and
don't pick a whack. Be alright, so I got
to be right here. And the first thing I
got to do is make sure my project BPM matches
up with the beat. So how to figure out
the BPM of the beat? There's a lot of
ways to do this. Either you have to produce
Italian easy enough, or you choose other detect. Right here. You right-click this
one out to detect. Right here it's
embedded in the file so we know it's 120 BPM. So imagine it's not embedded and you want
to find out what the BPM is to produce it in and tell you you
can't reach him. You can always just try to match the transients
in the beat. So I pull it down around here. So you notice the
first kick hits after 4 bar and then
everything lines up. So then, you know, you
have the right BPM. I tend to do this method
more often than not, because the auto detect
BPM is not always reliable and most of the times the BPM is not
embedded in the file. Alright, so then we want to set up the channels for recording. I usually remove this
one from a master. So this one doesn't
have a master output. And I'll link it
to another track. This will be my effects channel, and this is the channel I'm
going to use to record it. So I don't want any
effects on my recording. This just gives me more space to edit stuff after recording. So you want to select your input right now I'm recording
on input one. And as you can see, as
I select the input, it immediately comes
through NFL and it goes right to my effects channel because I linked it there. So linking your
recording channel to your effects channel, we'll just make sure
that you don't **** up your recording with effects that you don't necessarily want. This just gives you more
space to work with. When you're done recording, make sure your input is
a nice, healthy signal. And this makes sure that
your vocal is not too soft. Because if we can
hear what you're saying and you're going
to turn it up in a mix, you're going to
bring up a lot of unwanted noise that's
in the recording. So we don't want that. We want the vocal
to be around -12 to minus six dB when we recorded, check, check, check, check. Alright, so then
we're going to set up some effects I like
to record with. Just Auto-Tune and some
small compression. So for the compression, I'm just using the
fruity limiter. I'm setting it to about 3.5. Rachel, right here. I'm going to a threshold around the middle of
my signal right there. So what this will do
is this will reduce the peaks that are here on my headphones
while I'm recording. So for AUTO-TUNE, I like
to use the waves Tune real time as use the mono version
because I record in mono. So the key of this
B is B flat minor. I just happened to know
the key of this big. If you don't happen
to know the key of your b, you can
ask to produce. So once again, if he doesn't
know the key of your, you could use a program
called key finer. The link will be in
the description. It's pretty accurate. I haven't had any trouble with using it and I
use it often enough, so definitely check that out. I like my AUTO-TUNE
MI effects channel. Be on overload. I want it to retune at maximum speed as simply
because this helps me, while I record, just stay
in key with the beat. And oftentimes it just gives
me new ideas while I record because Auto-Tune kicks in and puts you in a
different direction. Alright, so the next step is
setting up your microphone. For the purpose of this video, I'm using an SM7. So the SM7 is a really good Mike for
recording on the go, e.g. in less than ideal situations because it doesn't
pick up a lot of room. It's a very clean sounding mic that's typically
used for podcasts, radio, that kind of stuff. So I use it when I'm on
the go for riding camps, when I go to other
people's studio. But when I'm at my
home studio at tend to use a condenser mic with
the condenser mike, you typically stay a little
further from the mic. But with the dynamic microphones
and especially the SM7, you nearly eat up the mic. So you get real close. Typically, when you
get closer to the mic, you'll have more
low frequencies. And when you get
away from the mic, it'll pick up more room, and then we'll pick up
more high frequencies. So again, a lot of this relies
on personal preference, taste, what you wanna
do with your song. Alright, So then we
get to the Mike Stan. So for this video, I'm recording sitting down. It's actually my preference. I usually record my songs
when I'm sitting down. So I have the mic right
here, so we're recording. I prefer to keep my
mic a little too high. And the reason for this is, so I keep my back straight, it keeps my posture straight. And this makes me more
able to deliver on vocals because you're breeding is
automatically in control. Alright, so I lower my
chair for the recording. So I'm putting
headphones on to record. I'm making sure I
don't have any output. My monitors and my headphones are really good and
loudness level. So if you have latency,
you want to fix it. Typically it's your buffer
size or your CPU or whatever. So I'm lowering the buffer size. Typically for recording,
I tend to use and a lot of people are no
tend to use about 46 samples. So this depends on what
your CPU can handle, but this will
reduce the latency. We're finally ready
to actually record. So let's get to it. I'm selecting this
channel because I want to record this channel right here. I have my Effects set up through
this channel right here. I have the monitors turn off headphones at a
comfortable level. I hit record audio into the
playlist as an audio clip. Yeah. Don't give a ****
with the major, save the money and stick
them up pains away. I don't eat them
leech and my pay for a you've seen the numbers again. They shoot you to warm
up alkanes place. So sad when I'm making my way, I must have been
hooping and may play if they seem Bobby as fade away. So I'm just gonna
do a few takes. So I'm muting everything else. Only the B will play. I'm just going to record
this part a couple of times. We got a few takes in. So the next thing we do is we start cutting and
selecting the best takes. Let me just mute this so I no longer have any
output from the mic. So there's actually
only two reasons why you'd cut in a
recording just because you prefer one over the other or because your timing is off and you're trying
to fix the timing, the channels are automatically linked to the channel,
are recorded in, so that's channel one right
now to check them out, I'm going to set them
to channel three. This is going to be my
main vocal channel. So let's listen to it on a b, I don't give the foot
with the major say the moneyed second mappings
way I don't eat them. The trauma pay if you've
seen the numbers. So for cutting, the tools
I use are cutting tool. And I'll make sure I select
the magnet right here. Make sure it doesn't
snap to anything in the platelets are only use two shortcuts for this
really a huge shift. And then when you left-click, you can cut in a straight line through multiple recordings. And when you right-click, it'll shorten those recordings. So like so also, when I'm doing this, I set
the bleed too generic. This makes sure I don't have any paths when our
curve according, so it doesn't pop when
this starts to play. So for fixing the timing, I just look at the waveform. I look at where I want it to be and I can see the
peak in a wave form. I want it to be on beat, e.g. this right here. I think of the foot
with the major say the money in Sikkim
up pains way, don't be shy about cutting. This takes a **** load of time. So we're not gonna
get into it too much. This is something that takes
up as much time as you allow it because you can
go all in with this. You can even take this word out. So select it with Command and then lower down
into the outer vocal. Put this on, we put this, no
one's going to hear this. No one's going to
hear this difference between those two vocals. So you can get really
crazy with it. I've seen people cut up entire
sentences is ridiculous, but that's it for cutting. So after I have my main vocal, I like to record doubles. Does a lot of ways
to do this again, all depends on your style. I'm just going to record
the same take that I did. And I'm going to cut
doubles from that. Lot of people like to
record doubles two times and they PAM one left and append the
other one right? I just like to use
a vocal doubler, which is in a plugin that
does exactly that thing, but with just one vocal. So I'm going to show you with the foot with the
major save money and stick them up pains way I
don't eat them, leech them up. Pay for your scene in numbers
against day and shoot you to warm up again to place
those out when I make my way, I must have been
and then made play, they seemed obvious fade away. Again in this, you can cut
out the breeding spaces, take out any noises
that you might not want to hear on
the final recording, make sure they line
up with the B, but that's it for
cutting and recording. Alright, so by now
you've recorded your main vocal and you're doubles. That's really it for this track, I didn't use any
other vocal layer, only a main vocal and
doubles when it comes to harmonies and ad lib tracks
and other stuff like that, the same rules apply. You just record it, you cut it, then you clean it up and mix, and then you add effects. We're gonna get into
that in a moment. So by now you have your main
vocal and you're doubles. So I'm pulling up the main vocal and the doubles from the
original track right here. I recorded diverse. I'm linking those
who are channels. So now we're ready to mix. The first thing I do
when mixing is cutting all the low frequencies
from the vocal because they're
really not necessary. You won't hear the difference. I tend to cut around 80 hz
is just a simple low cut. You can use any EQ for this, but I prefer to fab filter EQs. The next thing I use
as a compressor, you can use the
fruity limiter for this switch it to
compress them out. I like it around 3.1. Rachel, I take the threshold, say say the money and
took him up things away. I don't need them
you to my place for a number and I'll put it around
the middle of the vocal. Next, add secondary EQ. At the low end again,
because as you see, there's always some
leftover. For eight. Then I like to take the
Bulinus out of the voice. So for my vocal that's
around, That's pretty low. That's around 15160. I just do a minus two dB, save money and
take him up things a lot of low end that we don't
meet for a hip hop tracks. So I'm taking that out
minus six at around 750. I like to boost from around four-and-a-half
k because this really increases the clarity of the vocal tract and our
boost around five dB. Alright, so this
is typically how an EQ would look for one
of my rap follicles. So the next plugin
I used as the ESA. I tend to use to the SRS. And I like to use the
fab filter, the S, I like to use this because
I can use it split band. I turn up the range all the way. Split band means
that I can use this right here to make it look
for a certain frequencies. And it will only lower those
frequencies from the vocal, and it'll leave all the
other ones untouched. So I'd take about six K to 14 K, and I just leave the
threshold where it is because vocal input set at
the levels that are used, this is the right
threshold to use. So that'll take us the harsh
frequencies from the S. Then I use another DSA, I set it to split band again. Now I'm taking the lower
frequencies from around, took a four-and-a-half
five fish. You might want to do this. The frequencies from around five to six K
are left untouched and that's typically where
your pronunciation lies. This makes sure you don't
drown out your pronunciation. The volume numbers again today. So I'm just going to copy
this because this will apply to my autofocus as
well as just clean up. It's not effects.
Right-click File, Save, mix, attract state. I'm going to drag it over there. It'll change the name as well, so I just change
that back. Doubles. There you go. Now this track is the
same as my vocal tract. So after cleanup, it's
time for effects. I'm going to use
waves out of tune. So I'm using waves Tune. You can really use any
audit tune with this. I don't have a preference. I just use what's available. You set the origin
to the right key. Make sure it's in
the right key first, save the money and
take them away. You to my pay for a scene
in numbers again today, yesterday to warm
up or kings play. Well, make my way. I must have been hoping and made a play if they seem Bobby, yes, fade away, right? So now I've cleaned
up the vocal. I've used the Auto-Tune effect. So cleanup tuning. And the next thing is just
affects the brighten it up. So I'm using the vocal
doubler plugin from isotope. It's a free plugin
and it's really good. It's just gives you a vocal, little more body and just
makes us sit nice and a mix. So I tend to use it like this variation about 60
separation on a per cent. I set the amount between
202054 main vocal, and it just takes your
vocal from this mono sound, brightens it up a little and
gives it a little more body. So the next thing
I use is a delay. For this, I actually like to use the fruitfully delay
to a lower cut down. You don't want it to
be so loud that you can understand the
main vocal anymore. So I cut a lot. I set it to about 30%. Then I lower the volume down all the way and I'll make
sure it's in time with the B. You can just right-click time. Set. Take four steps. What would a volume of about 5%? For eight numbers again today, the only thing I wanna
do now is add a reverb. I really liked the
vault hollow reverbs, especially this one vintage
verb. It's so good. You just get a ton of
customization. I just love it. I set them all to play. At least that's what
I prefer on vocals. This is all just tastes. You can take it whatever
direction you want it. There's nothing wrong
in doing anything. Just because you like it. Mixing is more an art
form than a technicality. Even though a lot of people
like to tell you what a wise, I set the mix to
about ten per cent. I like along DK. I said the pre-delay to
about 25 milliseconds. The pre-delay is how long
do we wait to kick in? So this Gibson, just
about enough time for my vocal to play after and then afterwards the
reverb will kick in. I tend to use a size 50-60, cut all the logos because who needs the lows and
reverb and then occurred high as about
three K. So it's a very narrow revoked
and it sounds like this. Say the money and stick them up things away. I
don't eat them. You to my pay for a scene in numbers again today
you're seeking a warm-up for kings plate will make no way unless it's been open in May to play if they seem
Bobby as fatal. Alright, so that's pretty good. As for the doubles, I want to use the same altitude. So I can just use Save Preset S and drag it
over to doubles channel. It will copy the outer tune with the same settings
to the doubles channel. I'm going to use a
vocal doubler as well. So I'm just going to drag
that except for this one. I want it to be very wide. I want the doubles, so we fill up the room. So I'm going to set
it to about 85%. Again, I want to want it to
have a delay just basic, and then I want it
to have a reverb. But I want this
reverb to be bigger. So increase the
size a little bit. And I want it to be more
present in the mix. So I'm increasing
mix right here. So now it's just leveling, making sure the vocal
levels are set right. Say the money and take him up, please. Don't eat them. You to my place for a scene
in numbers again today. Yesterday to warm up or kink
plate will make my way. I must have been made play if they seem Bobby,
yes, fade away. Alright, so that's basically
it for this track. So imagine you have a
laugh track as well. I use the same rules for
cleanup or how many truck, just the same type of cleanup. And then the only thing
that really changes is the effects I
use and the volume. And judge, just taste. What do you want to do it and what do you want to take it.
8. Mastering the Full Track: But this track is
ready to be mastered. So I increase the
buffer size again, just because this makes the mastering plugins
easier to low. So for mastering, I use a plugin called the glue is
just a compressor. I really like it for mastering. I think it adds a little
character as well. So I'm just going
to compress it. The money and stick them up
pleasing way I don't eat them lead to my pay for
eight numbers again, to warm up for kings, play. Well, make no way. I must have been built
in and made it play if they seem Bobby,
yes, fade away. Just reducing the
peaks a little bit, then I'm taking a limiter, which is used fruity
limiter for this. The major, save the
money and stick them up. Please. Don't eat them. You to my place for a new
scene in numbers again, to drag it out for better viewing plane
will make Norway must have been taking out the p53 and these are peaks in
both the vocal and a B, flat footed villains could
do some a little bit. Then I take another
Glue Compressor and I compress a
little bit again, but this time I'm using
the side chain and I set it to about
800 hz, 700, 800 hz. This makes sure the low-end
doesn't get compressed. So the kick will
still hit the a, the weight will still hit. But the top end is
getting compressed. Folk domain, say the money and stick them up
things that way. I don't need them you to my
place for a good 340 plate. When I'm making my way, I must have been
hoping and made play if they seem Bobby
has faded away. And then the only
thing left here, if you want to go
real basic with it, the only thing left there, he's using a maximizer
to increase the volume, get it to the right levels. So if I select this
option and I take, Let's see, integrate it. It will show me my
LU fs are loves. This is a really good
measurement for loans levels is letting things a great
balance is great. Saving my cup of previous
two raised to k, the Reynolds state
K a little test was state of the mean
here to stay okay. I like to mix to
about minus ten. Our UFS just depends on
how large would like it. I like to maintain some dynamics but still
really pump up the volume. So around minus eight
to minus seven -12. That'll do the trick. Folk domains say the money is so timely to my place for a
scene in numbers again today. Yesterday to warm up for
kings play, where Megan away, you must have been
between inmate play if they seemed
obvious fade away. So typically, I like to
not overthink this ****. So I just bounce it loaded up in Google Drive or whatever
program I like to use. And then just ride
around with it, listen to it in the car, played for friends
and take notes. Just minor tweaks, just
a little reduction in the volume Lowe's or just a little increase
in the doubles volume. I take these nodes. Next time I hit the studio, I just go to my notes. I execute every one of them. A balanced again, right
around with it again. And I just tweak it just
a little by little. I just tweak it to
a final result. So I just bounce and
re-listen over and over. So imagine if this focal needs a little more low end and
I'll just reduce this, bring this up a little,
bounce it again. Take it to Google Drive,
right around with it. Make a lot of little
tweaks over time.
9. Outro: So that's the video guys. I hope this was very
helpful for you. If you have anymore questions, make sure to drop them in the comments and I will answer them. Or maybe Bobby G
will answer them, makes her down to free project. The link will also be
an inscription and this one includes the
free vocal chains. So make sure to check it out. And I think this
will really help you guys starting
recording vocals. I'm making it much
easier and simpler.
Seventh' Beats, Youtube Producer
