Logic Pro X For Beginners Make An Electronic Track From Scratch

1. Vocal DnB Track in Logic Pro Introduction: Hello, Welcome to Music Production with Logic Pro. This course. We'll be going from start to finish, building out a track. And you have the template to work with, including all of the instrumentation, samples, and the vocals that are featured in this video here. Divided into 30 lessons of building the track from the initial concepts right through to mixing and mastering. These divided into my four phases. You can follow along and use the techniques. Or you can simply use the template and build your own track as you go along using that template and see how it was applied. And Bill, because you have the template, you are free to re-mix the track with the techniques The learn. In this course. I would really like you to share what you make throughout these 30 videos as well. It'd be great to hear what you produce. Very much. Look forward to seeing you inside the course. 2. Starting a New Idea: Let's see if we can create a nice vocal, drum and bass track in Logic from scratch, it's gonna start with a nice fresh project, and I usually start with drums. And since we're doing everything in logic, we're just going to be using the samples available to us inside logic as well. So brand new session, first instrument in, we are going to actually add an audio track. I don't need an input or anything like that. We've got to use the library, so let's hit Create. So loops will live over in the top right-hand corner. Just stop here. You can press O to bring up the loop library. And I'm not really going to fill this out by genre at the minute. By I'm going to fit it by instrument. Because after some drum sounds are going to have a little browse through, find a few different drum sounds. What were the do each time I find this out, I'm just going to drag it into logic and I'll just leave a stack in here. I've usually just heard one sound or maybe a couple of sounds in the loop that I'm after. And we'll look to cut them off and build our jumps from those. I've got a few that I like. What were they doing now is jump up in my BPM up here, just for the DoubleClick, I'm gonna go to 174. And that feels like it shouldn't be about the right BPM for this idea of my head. Now, with the drums, I'm just going to solo each one out and I'm going to cut them down to the sound that I wanted. When you've got a saab was selected like this, you can press a you it's going to loop around it for you. So if I just stick everything at the start, is that all only or two bars long? I liked in here was the snare sounds. So using the smart tool in logic, I can just go to the end here and drag this to the start of where I want it. It was definitely the sound goes after. So I'm just going to narrow that down. Now we've got this out of something else. So I'm gonna go up to the top right-hand corner. So just introduce some tiny little fades here. Shouldn't really affect the cell, is just help isolate it and make sure there's no Pops where we've cut somebody yourself. Probably going to tighten that write-ups is less than short. We get into the next loop and find what we'd like in there. I think it was the kick on. It. Was that crash. I like that crash right at the start. Even if it's got other sounds in there. Will probably extend that ourselves using a delay or a reverb. But I just wanted some kind of significant smash. He crashed noise. What we got in here. Of course, to this two cells and hair, I'll probably use, I like the kick and I like the really quick snappy snare just to make another audio track, we hit Command and date that's going to duplicate it for us. Both duplicate the piece of audio. I'm going to drag this one back. So I'm taking that kick drum, just going to use little fade there. And I will do this one forward to take that snappy little snare. I'm just going to zoom in here, nice and close. And that really go t and I to change the scissors tool, just cut it that way. Double-tap t, and get rid of the rest of their little fade there. On this one as well. I like this. They're out of the kick now, might not use all of these are, we're just getting ourselves a little toolkit to start off using here. Now I've got this random selection of hits just over this warm bar here. We need to organize them out somewhat. I'm just going to rename them based on what I've taken from each one. So we're going to call it lives there. Crash. I was just going to group everything together just by clicking on them and dragging them up to where I want them to be or down wherever I need them to be. So stairs are probably going to learn the two and the four, something to that effect. So I think we'll use the sharp snare. It's sort of the fundamental unit. For the minute. I'm just gonna meet the crash to swap can get the main drum loop going. Probably going to use that kick again as well around here. Instead. It needs to lie these up if whether half of them layered. This big, lively one, we're gonna shorten it right up now. So super tight rope, big fade like that. I quite like having these both legs together actually. The crash to the Bob. So that's our main rhythm cut out and organized there. I think we would just extend it with simple copies. We're gonna highlight everything I hold option and just drag it along. We've got our smart snap up, just stop here. So it's going to snap everything to a nice space for us. Now, we can have the crash right off the offset. Now, this crash is really loud, but they use the inspector here just by tapping I and in the game section and drop it by that nine dB sits a bit more in the background. I just want that to happen right on the start here. So we've just got this now. Broken apart. It's a bit steady, but it's kind of cool. We're going to roll with it. Now we need something to help it swing and move along. I think for now we're going to use the drama. I'm thinking of a nice chilled right type sounds. So we just hit the plus icon and make ourselves a new track. We're going to use drama. I will switch it over to probably songwriter and see what we can get from there. All these jumps off at the bottom and just switched the symbols on the way out. That's pretty much what I'm after. Maybe somebody a little louder. I see we could start slow. We can speed it up later, which would've been nice. Cut it at the 4-bar. We don't want that role in this. We're gonna take the fill out. We're just going to let that go like that. Let's see what the shape is like in there as well. One thing I'm going to do is use the lovely kick here just to make a little roll at the end, we're just going to make a quick loop pitches. We can listen over something like this. Perhaps. That's a bit too much. Let's start with one. Like that. Now, the crash seems a little bit weird because it just fades away suddenly, right? Nothing this, we're going to give it its own reverb. We're gonna give it a reverb send where we made the drama. It's actually made this a reverb send already and that's not being used. So we might as well make the most of that. We said the big crash over to it. We've said it's a bus while, just to get it to maximum output there, we just hold Option and click. It'll send it straight to 0, useful for us, and it's got a Space Designer on there. So let's have a look at what the space designers during. It's given us a really short drum booth. We want this to blend it, extend and fill out a little bit in the track. So we're gonna grab something a bit longer and put that in there. We're just going to use a preset to be unless we go Big Drums, see how that goes. Minus ten will probably be okay. We get a lot of low end of that. That is for sure. So we've got a filter envelope in here and we'll bring that right up at the stars. Maybe a bit longer like this. The output EQ, I'm going to take a look at the lower end, the weight just using the bypass it I had an e-book and shove it down a little bit as well. The crash itself, there's still a bunch of low end that affects that first kick. Probably be able to see it in the analyzer here to learn not like EQ, just clicking over here to load up an EQ on the channel. We've got our analyses switched on. So I'm expecting to see loads down here that we just don't need all of this here, we just don't need, we're gonna take it away. Let's just solo out the crash to listen more what we're after. I kick drums, got to fill that space at the same height anyway, right? While we're here, we've built our nice step. You break, we're going to keep everything nice and organized as we go through here. So we've got the color, everything. We're going to set a bus up as well. So over on the mixer, I'm gonna take every single channel up to the stereo and all the way through the snares, select them by holding Shift and we'll go to stereo out. And I want to send them to a boss and I will send them to a bus, ten, that just leaves me other ones to play with before. It will give me ox to here, we're gonna call that drops. All our jobs will go to that bus. Pretty much. All of these samples are quite loud. I'm going to select the whole lot, I guess again, and I will drop them by minus six dB. It was altogether they're clipping. Remember we already dropped the crash by 90 basis three dB further. Let's take the crashed down to minus 12. Now, we're making sure we're leaving ourselves some headroom and bus is gonna be not to affect it as well. All right, so that's part one. We've built our first part of the break, and let's carry on into the next section. 3. Build an intro to the idea: We left off the last part with our drum brake, which was this. We build a bus for it and that's as far as we really got. We've named everything, but we do want they can color as well. So it's something that we're going to do here is highlight where the Meissner's. To bring the color palette up, we press Option C and Abella color everything within the same range. So I'll do it within the orange usually or maybe the ELA For drops, orange for this lock stairs, they're gonna be that the kick drums, we've got a highlight whether those are slightly different, orange tops, we're going to stick to probably the yellow. So we'll bring that in there as well. That just gets those colored it nicely. Now our track colors in our mixer a completely different, so it's something to do here is just hold Shift, select all of these gradients of functions. We're going to color track by region color, and now I'm mixable match as well. So we've got a nice little four-bar drum loop. We're just going to copy that, make it an eight bar is going to start to build up heart of intro. I think we're gonna have like maybe eight bars, drums, maybe fade them out, bringing melody and we'll build this up as we go. I'm only going to bring in one significant that will change with the symbols. I click on the drama on the second section, double-click to bring up this. Let's just change that symbol rhythm just like that. We've got this. I don't really get rid of that second crash as well. Just let it be a full eight bar break. I think we need a little something to start maybe building up the track idea and I'm thinking an arpeggio maybe we can use later. So what we're going to use for that I think, is we'd use sculptor if we add a new tracking and they got into software instrument and we'll go to the it modelling zinc, which stereo version definitely not working in 5.1 for this spring. That and let's have a look at we've got him pads, find the sound we like. I kind of liked this sound exactly what I was sort of vibe in width, but I just got to play a couple of notes of F sharp and we're gonna tweak it a little bit, some sheet to record the MPS. The first note came up really, really quiet. So what we can do to fix that, but that re-recording, I put the piano roll by double-clicking. Once you've got the piano roll selected, we can press T and V. We can just bring that velocity up a little bit. I started about one bar and I'm actually going to bring it back. So it starts right on the beat. Sculptors a pretty in-depth sin them. You can get lost in it for hours. There are some fundamental things we can do with it though. Like we can link it up to key scale and things like that. We can put key scale on here, for example, in the middle, Here's the material. You've got, nylon wood, glass, how intense it's being here. That's gonna be a big sound changer. I have a hit on the left. You felt the different pickups and kind of how it's going to determine what sound it makes from this central section. This little section just here. Pretty standard ADSL that you've got a mid split on the ADSR. So it gives a range that it can start amongst. Just make it a slightly longer startup. Script. Slowest, longer the case. Feed it back a bit. Just going to be a little tone set in the background. Instead of tweaking it all in here, I am just going to be very lazy. Put an EQ on the bottom, hexes a bunch of low-end we don't meet again. Okay, let's try something a little bit more musical. And let's have an instance of alchemy. Super confined sort of a bell. Sounds good with this. Okay. I kind of like this crystal bowel sounds. Okay, I'm just gonna play a melody and a few times until I can find somebody that I like a vibe with. And then we'll look at working in the piano roll and getting it into being something that I quite like that we can use probably do is I'll just make a loop and I'll just keep recording until I find something I like. We've recorded this in the piano roll. There's a few ideas in here at my timing was off in places by kind of works. What I'm going to use is just make sure I double-tap tq. So I'm still on velocity control and I'm going to hit command here in the piano roll. I'm going to use the strength control to quantize. And when I start adjusting it, it will snap everything, whatever it was. Okay in some places I don't want to make it ruthlessly on points are going to bring it to about 80 she'll ever listened through and just maybe take some of the best moments in here. That ends section here, kind of lightly, if we just drag this back, I think it was from about here. Happens in a little bit quickly. So what we'll do is bring this back to here. This one back to here. See how that rolls instead. This note that happened a bit later. Perhaps we can lead off with the F sharp. Fall for it again. This hit actually have that whores that quite happily. Here. We can actually move our odd sound in sculptor patch off. So it's going to play in these posts sections here. Bell tone, what is kind of nice? It is pretty harsh for me, so I'm going to bring it down a fair bit on the filter. Was an automation control on the filters, we can dial it back this way. Same with the resonance. When this pad, the sculpture sound isn't occurring now I'm actually going to get rid of it in these sections here. Just have it on those blanks skull, that kind of weird tone to it. But kinda lightweight gifts. We're going to make this whole thing 16 bar insurer. Now, we should have a copy of the whole layout. What I'm going to look to do here is just automate this bell tone so it builds up in the track the way we're gonna do it when they automate this control here. Pretty simple to do. Easiest way to find these things is to switch automation on by tapping a and we're gonna change the volume. And we're gonna change the automation type. Just a touch, I would've hit play and just move the control where they have to set the cutoff. Now because we're already on touch here. We can see we've already got a parameter. We can switch this off of touch. You get this little drop-down arrow here. We'll be able to see a calf filter without tools at the top here we've changed the marquee tool into the pencil tool, and I'll never be able to draw the automation in after how somebody really linear just to test it out, drag it down. So that's still too harsh for me. I'm gonna bring it right down to about one K. I'm going to hit T and W and put a little bit of a curve it just listen back to that quickly. All right, So we've started to build up an intro here. One thing I'm gonna do now is just build a very quick noise sweep just so we can move out of the drums. We're going to have a nice long buildup, going to introduce some cause and things like that in the third section. But let us do on noise sweep first while we're here, let's hit plus. I'm going to use alchemy for my noise sweeps are pretty much always do at first time reduced, close it away like that, use the pencil tool and it introduced a long note like this. We're going to have it highlighted, press U, so it loops around it and we want to add one long note, tends to just do it off of C, covers the length, that whole four bar section there, like that. We'll just have this really weird scenario is wildly off k. Now we're going to load up alchemy. We can sit, we go to file initialized preset. I should just be so a wave now, where it says a over here just on the label, I'm gonna click on that. We're going to disable the soar wave and we're gonna go over to noise over here, switch that up and we'd have white noise enabled loke up. We're going to bring up 240 to 200 hertz depending on what we've got. I think in this case it's about 200 ish. We know needs to switch the oscillator back on. We'll just have this horrible white noise burst. There's a couple of things we're going to control. We're going to do the same trick with automation. Going to change a read over here just to touch. I'm gonna move cutoff resonance and the drive will switch that back over to read. And now when we go to automation on here, we're going to have three controls available to us. Using these three controls, we can usually build a pretty nice noise sweep, the filter cutoff, and you use that to control any level coming through. We probably don't want it to start creeping in until here. But if we wanted to have it a bit earlier, we've got the note there to control it. And we know because we put the filter and it's not gonna start really coming in until about 200. We can just gradually creep that outlet that I use a little bit of drive quite often just at the end, just to push it a little bit further at the resonance can work quite nicely if we bump it up like this, bring it back out and go right up and bring it down really quickly. So we're just writing it. So always gonna work depends what kind of sweet we want to build. But we'll test this out a bit extreme on the resonance that we just curve that offer touch. We're going to flatten that out a bit more than really creep it up just to have it so it starts coming in a little bit sooner. We don't want to just drop dead as well. So we're going to bring l can be backup and we'll go to effects. We just switch effects on it. We'll just use the delay built into alchemy. We don't want it to be too intense. Sort of like 30 or 40 on here. Definitely have it sync up the rate one over fours. Okay. Whenever eight maybe attending on what we are going to go into, but what he ate for now, which slit the loop go slightly over. Have a little something like that. That wraps us up for Section two. Let's move on to section three and we'll look to start building some chords and rheostat and the musical tone to go into the main track. 4. Sounds & Introduction: All right, so we build up our first like 16 bar section that's now going to drop into a bit of an instrument or breakdown in the chords and tone for the track. I just wanted like a nice little role in melody just to start everything off so it can translate from one track to another. So this is what we built so far. One thing I'm definitely going to add them. Let's take this crash here. Like it there, drag it right up to the end here, zoom in. It's just on the end here in my inspector going to drop down more of them with a reverse it. And it should just give us an extra little fade in that I'm going to drop the level a touch more. I'm just gonna leave it on the same channel would drop it by minus 18 dB. I'm going to keep the rhythm going in here. I think I'm going to take the first section here of drums. And just with a double-click, leave the symbols on here, but I'm going to bring it right down to simple and light. It should really reduced out what we're doing. Shake it out. We've just got to keep going with the rhythm. I think that could work. If I can make it slower, I might make it slower. So what we're gonna do, we're gonna right-click convert drama region to MIT it. We can do here is if my little hack works, so now I've converted that to a midi region. I want to have it in time. If I hold down option, I can time stretch it, double it like that and it will now be in half the time. How's that for a little hack for you? So what I wanted to do here is introduce some court. It's gonna be piano. And if I've still got my piano patch, we're gonna roll with that. I think we're gonna make a new instrument track. We're gonna leave it empty, empty channel strip up here in saying, I've hopefully got one that says my piano. If I remember rightly, this is Logic Piano. It has got S4 on it, but we'll get rid of that. Then it is entirely logic, beautiful. Yeah, I was thinking of playing out some keys and chords on here. However, some of you might not have any musical theory. And that seems a bit means I want to show you a way that we can build like chords and melodies without maybe having musical theory ideas, just so that we can do in logic just with the point-and-click methods. Beforehand, I was writing in F-sharp minor, so we're going to stick to that. And what we can do in here, we've got the scale quantiles with them making use of that and kind of build some cause up that way. So that's what machine though your notes and where we can launch off from, you'd be okay to follow along with this kind of method. Whenever you've got selected, it does show up in here as well. So you can see as I run through it highlights the F-sharp, for example. If we put a note in like so. How can we work out code? So one thing we can do, we can make this star a little bit early in here. We can just fill up a whole octave, highlight all of those notes in that scale quantize. We're going to go F sharp natural minor. That gives us a scale, this little guy up here and right-click, we are now only using that scale right there because it's leaked like this. It's not going to play those notes. So I can work things out like this. Code like that. How's that for a little hack for you? Let's work out a nice cool progression. Just copy this across. Few ranges. Play around with which you sit down. Anything we put in here, it's gonna work for us. We could do something like this. Now as a general rule, if she miss out every other note, you're always gonna get a court that works, at least. I kinda like that as a progression, but I wanted to be a little bit longer and more joined out, swinging that doubling time. It was sounds a bit rigid at the minute, but we're just getting an idea for what our progression is going to be. How many somethings have finished that often I think bring it down by a court. Not quite long enough because I'm pulling it backwards. To quite a nice progression we've done, I think. All right, so what we're gonna do is I'm going to duplicate it. And this time on this new one that she took, roll it off like that. This time, I want to stick a melody and the top as well for so we're gonna go for shorter note, each course playing over two bars, one bar of the chord and then maybe put a melody is just two notes in every other bomb might work for us. We're gonna give it a try, see what we get. I might need to go up another octave is quite nice. We step up the pace a little like this. We try to invert it. We're going to do that. Step up and up. We're gonna trick ourselves a bit here with an extra step down. We do a similar thing here and just narrowing it in further each time. This time we're going to bring the melody in a little bit early, so you won't be expected. That works quite nicely for us. Let's check all of that together. See what we've got. All right, so it's a little bit rigid and we're going to humanize it up just a little bit now, can do this manually or we can use some of the tricks, but we need to do is shorten these notes just a little bit. So we're going to zoom right in, just bring them back just a touch, just so there's a bit of space. We've got to think about when we're going to play this. If I was playing this, my little fingers probably going to hit first and that we'd be the first key to hit everything after that might come ever so slightly later. So we're just going to give it tiniest bit of a gap that would maybe take the longest to hit. We now have much more natural landing cord. Use the humanized tool to do that as well. So I select all of these, go into functions, midi transform, human lice. We want to switch off velocity, but that's a 0. We wanted to switch off random length to 0, but then position we do when they're moved ever so slightly, we'll just have it down to like six ticks operate only when we zoom in, we can see that they've moved ever so slightly now they're not as natural as the way I like to do it manually. Do that. For example, he starts to shuffle coming a bit early and things like that. She might need to go in and correct them anyway, but they do it for you. Similar thing with these as well. Even just the tiniest bit off a little bit later, we didn't make them sure. So pumpkins to the next satellites that we just simply thing as well with the melody. The melody is never gonna be paying on, probably end up going a bit early. Leave that a little bit later, just helps it feel a little bit more natural like we did with the other school. Grab all of these, but we'll do it with a humanized sort if I have to go back in and tweak them later. And the other thing I wanted to do just before we wrap up this section isn't the drama here? I don't want to have a go at any quicker, but I do want to introduce something else in-between. Do you have a shaker in here? I'm literally going to copy the same notes, bring them up to the shaker in-between. We've now got that shake in there as well. Now I'm going to reduce that in levels, which is going to bring this like this and bring up the levels here, which is going to reduce the shaker doubt. It's barely or the FAFSA. In the next section, we're going to extend this out, start to build it up into the main body off the truck. 5. Find the Chord Structure: Alright, so let's get straight into this. So we had this nice breakdown section here with just start right in the piano is going, I think, and I'm actually going to double that up. It's going to let it run through the first time. And then we're going to start building the jumps and everything into it on the second one. And literally just going to take our suite that we built here before, copy that over in here. So we've got a bit of a transition is going to ask by copying the automation, we're going to say copy, you'll be really snapped in, but it will do the job for us for the time being. I'm also gonna copy over the whole drum brake here. I just want to listen to it and make sure it does all work. We're gonna start fading that in gradually to bring it into the whole project itself, I'm going to take the second melody section out and just roll the chords over against bring the melody in when the song actually drops somebody else, I'm gonna do it. I'm going to bring in a full drum break. I would do it from a free library, which is one of them might once. So you guys can actually have that as well. Let's see what sits best behind this. Works. Try out the name we break. Yeah, I think that could work for us. Let's just double that up. We do as well as just bring the channel up to here. I'm going to leave it in for now, right at the top so we know it's outbreak by the mixer. Just makes sure that it's going to the same groups. We're just going to offset over to ten. A little bit loud, less than spiky bits, a little bit loud. So let's just drop it probably about nine dB. Just using that really fill up this space, just give it a kind of a natural break in there. So if we take it away, it's like bringing it back in. Just that extra little thing, little bit low in the mix right now. We're not too worried about mixing the track down just yet on that jumps bus, I'm gonna put a EQ on there just by clicking on top of the EQ option just at the top here, the switch on the low-pass. We've got this. We need to bring that drum channel in here so we can work on it. So if we right-click where we labeled it jumps to create track. It's going to bring it in for us. Just ordering structure for myself, going to bring it below big crash here. So it's just here. This can now have as an automation lanes where it says volume. We're going to bring that to EQ, high cutoff frequency. I'm just going to use that as our filter to bring it in. I wanted to start real low. We want it on for the rest of the times. We just make sure it doesn't calf to a right around here. I think sort of niche would be a good zone to bring it into, again, to bring it all the way up. So it goes basically off writing at the end, we're going to press T and W and just give it a curve. So it comes in slowly. Works quite nicely to bring the whole thing together and just made it a little bit sharper there. In the name we break itself. There's a couple of loudly or vocal bits that are probably going to count on. This first section is tipped. And when do is bring this over here just because of the filters off over here and we're just going to chop it up. So we're going to set automation off by tapping a, just zoom in here a bit and just play through. So here, for example, I think it's this bit just here. We're just going to chop that out. You don't want it to be quite as loud. It should be a fade in as well. Back to their faith. Go. So it's just going to have that little pause and just what we want to have cut out. We're just going to bring that back over to here just because it's stuck through a bit, even with the filter on, we'll have something like this. Let's started to bring us into our main section now that we're a copy of the whole drum brake over again because we're definitely going to make use of it. This main section here. This is gonna be really the start of our track. Now this is where we're going to really start to. Yeah, we've done a full 88 bar intro. They're having a little break at the start. We may have been some of these ideas off. We'll just building it at this stage. Now it's going to be our main break that we're using the track. So to do this, we could do here now is bring this section back in if it's still too loud or gain it down separately. Again, this down independently, it's already gone down by nine would say the standby 12, just to give it a bit control. Note, we've started the main portion of the track and what they're bringing the chords and melodies straight it as well. It's probably time that we started thinking about building a baseline into this field as well. So what we're gonna do is we're going to just hit the plus icon up here. We are just going to make a new alchemy track here. What we're gonna do is take the piano chords here, just sit down with that, copy it over twice. Select both, press T and G joined them together, that will tap tick. And now we've got the courts in with that alchemy channel. It's going to sound crazy. What we're gonna do is we're just going to keep the lower notes. Each quarter. Time being. That's going to work as our baseline. Pretty much any cell we building that's going to be working for us. I think what we'll do is probably try and make a patch from scratch here is an initialized preset. What we'll do, we'll move on to the next video and we'll look. They're building sort of saw racy type sound in Alchemy from scratch. 6. Adding Bass: Okay, so let's try and build ourselves a bass sound in alchemy. We reset alchemy and we can do is just click on a here and we're just going to work off of using the soar. What we might do is try just bump it up. So we've got two of the oscillator with an ever so slightly de-tune them. Tick the pitch down an octave as well. What we need to do is put a low-pass on it. Now, it doesn't matter massively what low-pass you used to be honest, but there's different flavors in here. They do give some different fields. Something quite sharp. It's going to be quite useful for this. We could do the edgy 24 dB. Bring that right back. Now on the cutoff, we just right-click this ad modulation, add an LFO to it. It gives us our LFO down here. We want to set up some details for it. So it's got Syncom by default, it's one over for a minute and the depth of how much it's controlled is set just over here. And you'll see it introduces this orange line around our cutoff up here. We're going to go slow. That's working a bit for US. Residents, maybe farther. Going to use the Drive on the filter as well. Now, as a behavior, I don't want the note to keep triggering. So at the minute, each time a new note happens, it restarts. I want that to be more fluid and move into itself as two things that we're going to do. Grab all of the notes, zoom in and just making slit overlap just the tiniest amount. Then we need to change some behavior in Alchemy so that they all flow together. If we go back over into global voices, instead of always, we're gonna do legato and see how that works for us. And we might need to change our times and things. Let's give it a little bit of a glide percent as well. I said triggering each time when each note it just kind of moves up and down with everything glides into one another. Now, do I prefer this really slow pulsing, or do we want it to go on for maybe dial it back a bit? Probably something we could automate and play around within different sections. So let me, I have notice is the notes in the piano sticking out a little bit for me. I'm just going to go in here and I grab all of the high notes like this. I'm just going to switch the automation lane on here. We're just going to pull the velocity down a bit for them and why they were selected as well. I'm going to functions media transform, humanize the Random off. I want the velocity to fluctuate just a little bit as well. We get something like that because now that we're gonna be ever so slightly different than a little bit lower. All right, let's see from the breakdown here how everything flows together. Now, remember I'm looking to have some vocal start around here, buildup here, and then go into like a main verse here. So we're leaving space for that now. We're gonna make a vocal track here. One thing I totally noticed was around here, the drums and the buildup. It doesn't really build to anything. So I'm thinking what we can maybe do instead is build up to here, then just leave it. Pose, move the automation with that, we're going to bring you back. We're gonna meet these three jump hits, which go to the spectrum. Just mute those instead. Now should build up that just the slightest pose, which is just saying a little bit different than just rolling the drums right through, gives us space to perhaps that the first crash as well as an extra build. Something just this signal signify that we've landed as well. So believe in try popping the crashing. That doesn't work too well for me, but we need to find something that gives us a nice little landed in there. Wondering if the base could actually come up. I kinda like that actually bringing the base up an octave instead, but we might be losing the sub way. We can fix that in R can be really easy, some springing up in AQHA, I have a quick look at what's going on. Bringing up an octave. What we can do to remedy that, because I prefer that sound bringing that up the octave, we will switch on oscillator B will go to load a VA, basic sine. And we'll do them, bring this sign down one octave and that should fill our subspace. It all the way, their way. I prefer that actual resound. Save that so we know the patch for you guys. We're going to rename this just here so it wouldn't be chews it up here in the inspector where it says region, we can always rename we can always rename up here. So we'll just call it race, will recolor it as well. Basis are gonna be purple in this. Remember like before or channels now not going to be colored the same. So while it's selected, we can always go function's name, tracks by region name, color, truck by region color as well. No match like that. I like that little section we're going to copy that. Lost him with a try. Just here is actually using this section that we had in the intro and see if we can make use of a again, over here is something slightly different across that first section. Let's try out sucrose to the automation that we had on here. We don't really hear it, so we're going to bring the fill off, maybe February out instead. Just leave this section to this neighbor again. I think it's fair to say that just doesn't work. We definitely need to build something else into this next section, the next video, let's work out what we're gonna do that. And then we're going to build one more section and then we're going to get a rough balance and send it out to our vocalist, get the vocals back and continue working on it from there. 7. Strings: Okay, so we need something to flesh out this section as it develops from this. The next part. What I was thinking is I'm actually going to use the strings that can be added in here. Yes, a studio strings. Let's have a look here. We've got lots of base that the cello is probably won't benefit us, but let's try. I did in the viola IS, so we need to add a new instrument here, have it selected cause when we go into, let me know when we've got a blank patch. If we open up studio strings choose the viola's should lay in there for us. Let's just close the library. Waste full screen back. I'm willing to take the courts just like before and drop it into the edge to make it loop around it. We're gonna say the bits we can build something else. Thicker code doesn't work with the strings, so that's B. These two that flash kind of works now when I select the whole lot, shift and option and move it up an octave. Because of dyestuffs, they sort of all swelled into one another. So we've just got to do the midi trick of just bringing some of the notes. While they go all over the place. You shouldn't bring some of that nice so they get passed into the next one. Explain widths. We just do them individually like that. Okay, so now in the patch itself, we open it up. Hopefully we can get more of that feeling to come across, gonna have a little bit of an attack and said there being a really sudden sharp stop strings don't only start like that. It doesn't look like we can switch the articulations that easily. We might have to open up a few versions of this to do what we're after. It's like most libraries that are used like contact and things like that. I can switch the libraries really quickly and easily within this, but it doesn't look like we can do that in logics. One, that's cool. We'll figure something else. Okay, For the time being, really wanted to mix up how these chords sound, the balance of them. So we do the same trick we did before with Shiva guys in them, which can be functions many transform. She realized just do that random velocity just to break them up like that. Just take a bit high there of the third quarter. Okay, let's try it in this section here. Now hovering ship match up. The Hoare CSP is going to join the two scalars with T and G once we've selected them both, join everything together. These two here up blending very well. So we're just going to take these notes and bring them out of the ones that carry the one step, a disjointed here. But I play a bit of a trick and just extend it right the way through. Work so well. Some of the other ones we've used the same date across like that. I like it now. The second runner bell whenever it just a touch louder and your tiny little bit. I hope you can feel that it's building up and up a bit more than OK. So the way I did that was just a highlight these notes and just change the velocity of the ones I grew up. Just boost up just a little bit. That's nice. That's nice to the point that I'm thinking. I might in fact do it here as well, but have a much quieter version here just to really put it out would have it built up over the whole care it. And then we've got a melody line. And the second bit, I'm going to bring these down. A fair bet. So it's like this. I'm just gonna build up and up and up and joined the whole lot together as well. We know the reason for that so that we can extend these notes during the play. Not truly as possible. And then bring it down even more. Maybe a bit too much. Instead. Let's have another instance of the viola's. However, this time I'm going to just bring the patch up here. I want to change the articulation over to copy those over. Fist gonna work. This is purely an experiment on the midi effects. Over here, it adds the arpeggiator, see if I can arpeggiate the course for the spiccato notes. Rapid when they afraid, maybe. Let's go up an octave. Hold lots of this, for all of this up an octave. Bump the whole second bit off a second octave. Steps Picasa, it's trust the Carter. Quicker attack. Going out of range here by actually works as like a whole new melody. Just kind of cool. Let's try it. These bits altogether. The way I built the app was just using that whole initial section. But I'm going to stick to what I said. It's going to be for the second. Just wanted to get the ideas together before, so I put it in the truck apart. But whenever gonna do this, we're going to copy it. Rake over again. However, we are going to bring back the right and shakers as well. I think we're gonna have them for the whole lot. So much to it. I do want to change him for each part. What we're going to get rid of that, get rid of that. Extend these out into two different sections. Just set these up. Move that one, for example, change the percussion. That one change to percussion and move it up. Touch back to this pod for try. Listen to the whole buildup transition. The intro, where the brain, these right now. We're getting somewhere now. I'm not a huge fan of what's going on now with this section just here. There's somebody else we can do with it now. Some of these notes just come in too much out of the range. What we can potentially do is invert them. I think that might help us out getting something new out of them. So let's have a look. 8. More With Strings: Scrapped that idea. What we can potentially do is take these ones, will drop them back down the octave. We're going to have another copy of the studio violas. I didn't command D. We're going to bring this down, take off the first eight bars of soap, take this section here, delete this super high. We're going to bump these up an octave instead. Let's grab that pass just there on violins. Let's change it to pairs. Let's see if we can maybe just copy some notes to make a melody from. Let's take these from here. Let's make a New midi region for the violin case. We're going to take the lower notes out of the violin. Just going to make arithmetic. Just on the higher notes. We just keep that sustained lower ones. Since these strings do not want to behave for us. Yeah, that works quite nicely anyway. So we can do that Section built up kind of nicely. Now we've got a copy off sweep over again. This time they were gonna stop it here. Recent bandwidth make it a fair bit longer so she can drag that out to double-check. Let's get the note rings, alarm, switch, automation backup. I remember we've got our automation lanes that we made earlier. We're just going to take the pen and just It's true, roll them over a longer period. When he drives, which is going to have the drive maybe creep up there like that. Fate in a bit more gradually. Resonance sweep at the end as well. Let's just see how that guy works. Just click on the top press unit. Dr. just roll them for much longer than that. Resonance suite was a bit harsh at the end, just do that. Trust transitions a little bit longer over time, which is nice. We're then going to go back into this section here. Basically, what we'll do, we'll just copy this whole chunk out knowing that we can change it. We just want to hear how the transition is going to work for us. We want to hear it. Freaking just pop these in here. We can have a much longer breakdown here. It just feels ready for it. So what we're going to use, ring that right to here, move all of that. I'm going to take this section across twice to get rid of the little gongs for the second part. And then we've got another nice ramp up here into what's going to potentially be this section again, for structure wise, we're starting to get there once we've really got a structure down with your balance and then look to get the vocals in. 9. First Arrangements : Okay, so we're gonna do a quick bit of housekeeping just so we know what's going on. So like we did the recent things before, I think we can leave the strings in the blue color name wise, let us just give them a name so we know what's where to go with. Fire the court on that one. Melody via e-mail for the violin melody, what reducing the highlight those and name the channel was asked them as well as we've got an idea of what's going on in chat by region name and color wise will throw them in the same color as well. And we pop this breakdown in here right after this section. A couple of more things I wanted to do up into this break. So I do want to just get some a couple of sounds and use them as transition sounds. Crash ideally want on its own. Let's see what we've got in the library. That long crash is gonna work, okay? Whether you use that as sort of like a transition signals. We got similar one that we're going to use as an extra riser droplet there within reversed, close the browser hit just reverse that, especially automation lanes off so we can see right where it's lined up. We just want to come to a bit of a crescendo there. The other thing I want to do is have this crashed spot, right when the member in music starts, we've got this little run section here and then it starts here with these jumps. Doesn't even use the reverse symbol there. Remember we just gave that little corner of a bob break. Let's just line that up to zoom in to get it just right. Sometimes what I've got at the minute at the bottom is this window here, just press a and that brings it up as sometimes logic doesn't really show you what's going on here. So it looks like the sample kinda disappears. However, you can see they're actually backup. That should just give us that buildup. I'm listening back to it now. I think kind of lighten the melody, but I think we shouldn't share it with the courts, perhaps just for the first couple of bars. And then we'll bring that melody and really kind of phase and let us do the first four bars and then bring it in. Really happy with that buildup. And then we've got a slightly longer break down another buildup. What we're gonna do is take this same section here, which is sort of our main verse and chorus built. Literally copy and paste, drop this over here. And we went necessarily leave it like this, but it's a song built. This is pretty much where we're at. I'm going to even use this right as the end of his piano section here. I'm going to bring these up before we're going to highlight them. Functions midi transform. She humanize it and do the same again. But this time with each chord, I'm going to take it like this and just bring the level down, really fade out. And the last quarter of them in a massively overextend can't really hold out and just fade out over time. Now that gives us a four minute 42nd track in total. We're just going to play through the whole thing and see what we like about it. And the idea being, if I need to add any actually orbits now are well but likely I'm publishing and give a rough balance for this and we'll go over during the rough ballot and then we will look at sending that out to a vote list. Okay, So right off the bat, one thing I'm going to change with these jumps out at the start. So let's go into the automation. We already had our drum lane done and we've already got a filter on it which is dead useful. We can have it completely in for these first few bars and then we're going to look to bring it out here. We want to make sure it's back in play. Here. We're going to bring it out like this. Use t and w and just curve it like that. Like that should work for us so it's there, but we're going to fade that away. Relatively happy with what we've got now. So I sketch, what I need to do is balance it so we can send it out to someone so they can put their ideas to it and record to it by somebody else without any interaction. That is the nature of it right now. So we need to make sure that they've got something good to work off. Now this is probably the only time you're gonna see a third-party plug-in. In this session. We're going to use it just to help me balance everything out because I'm working in headphones to record it. So what we're gonna do it on the master bus open, this one called Tonal Balance Control to, I've got my own setting on here called 2001. We're going to put it into fine. And what this does, it gives me an idea of the balanced, especially in the low-end, can't get perfect in headphones. And what I'm really going to be doing is going through all of the faders, balancing out the levels. And I'll be doing some EQ and probably impression in places as well. One thing I did want to touch on was just grabbing all these strings and given them their own boss like we did for the drums as well. Put that on 11, which we're gonna call that string like soap, just that they've got one bus that they all work in as well. The other thing I'm gonna do is I'm mainly focused on this section here. This is our busiest section where everything happens. I'll just be looping that and balancing that. I forget the balance for that part, right, where most of the vocal is going to be. We can do everything else once we've got the truck back and the vocal was back in, the other ideas to work off of the subarea in the research just a little bit too much now because we made this alchemy, we know exactly how it's constructed. I think that she goes to the sine wave here and I can turn it down to say, minus 78 or even nine dB and play it back and see how it is. Suing the US each year I've been at low shelf away a little bit here. Quite a steep slope because I want to make a little bump around here as well. We've got the real rumble going on. This area. I'm not going to get too deep into sound design. Purely want a balance here to get the whole track together. The strings bus is quite nicely balanced. If we take one of them together, we could do a bit of stereo pan and especially at the melody a little bit to the right like this. That's better separation. However, overall it's too loud because it's going to a bus. I can literally just take the bus down by three dB on the strings. They're just took all the low-end out. There are a couple of low-end things that weren't adding anything to it, but we're definitely interfering with other bits. Just got rid of those dipped here because there's a bit of a resonance you just saw me from match it up here and just giving it a nice boost just to bring some of the tops out, even though we've gained it down by three dB, I'm adding 2.5 back on the top. So I've just lifted that up back to essentially where it was, kept everything else low, split those. The other thing is the drummers little bit of high-end missing on there. Now we've used this as a filter already. Actually do is add an E2 below it. Instead. I do that just by copying this one over, switching off that high pass. And we're actually just going to give a lift on the high end like this. Not too badly balances maybe a little bit harsh on the drums, just going to dial it back by it. That's about not the worst mix, not the best mix. It, you can hear all the elements of the ideas that could develop into something. The high pass on the bottom here of the jobs as well, which studied any of that extra low-end. And somebody else may do on this track here, which is our master Stereo Out top and tail it like that. They're both 20 kilohertz in 20 Hertz respectively, just isolated in that space a little bit for us. Balanced pretty well, sound too bad. We can actually get rid of you. We've got plenty of headroom, nearly four dB for me is ready to send off to someone who's going to write to it and do some vocals for it. The next time we come back, we'll be looking to import those vocals, start working and keep developing the track from there. 10. Adding Vocals: Okay, So we worked with a lovely girl called Heather, and she has recorded some vocals to this instrumental for us. So what we're gonna do in this video is get the vocals in a bit of editing and just get everything ready to keep working and building on this project. So to import the vocalist into logic, we're just going to double-tap on our mouse and we've got a window open here. I've pulled the vocals into a folder, which makes lot of sense. So we've got them all in one location whenever they're always going to be in which you can drag and highlight all of them and drag and drop. I don't want to make sure I drop them right in on bar one hip. And it's going to asked me if I want to use existing tracks or create new tracks. These have never been imported to this session, so create new tracks. Drop those in for us, all starting on bar one logics and just take a minute and just get a nice waveform generated for each one here. Just as an organizational thing for me, I can see here we've got the full track in here, which is probably just like a demo mix that she sent me. We don't need that. We're going to get rid of that straightaway. We're just going to highlight the truck hit backspace. It would delete the audio, hit backspace again. It will delete that channel. I've got two vocals only here at the bottom that looks like they're going to match up with the top one. And it also looks like these two green ones are exactly the same. We've got a one dash one, which means it might be a slight revision. They look to be exactly the same bit of audio. So what we'll do, we'll just quickly solo those two platelets together. Some very minor differences in the harmonies. We'll keep both of those in with another layer here that looks like it doesn't have any of the harmonies, and so it's brilliant. And then we've got all the harmonies and extra bits separately. Perfect. If something to note when you import vocals like this. And we've got really quiet visit audio for example, these three here, which obviously all layer together only occurs here, and this is just a tiny bit of audio. It wouldn't option up here, the waveform Zoom. If we tap that, it's going to sort of zoom in to everything. If you tap and hold on it, actually get a slider and you can choose how visible it is. By default, barely visible tool. We can switch it on and it just zooms everything in a little bit. So everything should be in sync by the looks of it is like we start on here. The vocal looks like it's gonna be bang in time. Very much here as wealth. It's just have a listen, makes sure that where we've dropped it in a bar one everything's in time. We'd have to fix anything there. If everything seems okay there. So what I'm gonna do know it's just a little bit of tidying up. We don't need all this blank space in and it's nice just to get rid of anything that appears to be silenced. Be sure we've cleared that away. There is a function inside the logic that I'll use a lot when importing stems like this, and it's just Control X. It brings up this menu here which is trimming the silence. Now, what I'm gonna do is use a threshold here, which will determine when it starts cutting away. And we're just going to keep bringing that down. So we've got blocks like this and we have an in and out time. Generally do like 0.1 of a second on either side, just to give it a little bit of an in and out into the silence and then we're gonna hit, okay, but that's going to cut that into little regions for me like this. Remember the highlight, all of these regions in the inspector just by tapping, I wasn't going to give it a fade-in of just about five. A fade out of about five as well. If we zoom in, we can see that that just ensures that we're fading to 0, any of the points there. I'm just going to repeat that across all of the bits over here we've got here. Now we've got all of our vocals separated out, and silence has been cut away and everything is still in time. And the next thing I'm gonna do is highlight all of these which appear to be our main vocals and we're just going to color those. It's going to hold Option and tap C got color chart up. I think we'll just make them all unless bright purple is maybe a bit too bright. Let's go for it that a little bit darker. And then we're going to take all of the ad lives and do a similar thing, but make those even darker. I'm just going to highlight these regions go into functions and color Chuck by region or cell color. Let's just going to re-color those for me. So I've got all my vocals at the bottom of the track or in a color formation and all the tracks are easily reference it at a glance. I can just look at this section here, see the purple sections, and note what I'm looking at. The other thing I'm gonna do why they're all selected is go into stereo bus and we're gonna make a new bus on the bus 12 here. This is going to be our vocals bus. All of the vocals are gonna go over. Hear me is I can just solo this any point. I'll have my vocals. Something I'd like to do now is just give them a rough balance with the track. Now they're all recorded at a relatively low-level, which loops this section here. Now they're all recorded an okay level which is going to loop this section here and play it back and let just going to dial everything back and bring it up slightly in the fader. I think what I might do is knock everything back of these by about three dB, just so the quieter ad libs here, I've got a chance to come through. The way that we would do that is to highlight all of the individual clips like we've got here in the inspector where it says gain, just going to type minus three. That's just going to reduce them down ever so slightly. Let's just get them a little bit closer to these here rather than boosting this snowy, just going to play it back. And I'm going to bring everything in starting with these main three vocals here, we'll just have these unmute, just a highlight multiple tracks that we just click on one hold Shift, click next one. So these outlook and with the help of this lead one here that hasn't got the add lives in our main one sitting in the front with a hard pan. The other two section here has got the extra ad libs for the middle as well. So when the US just that section and bring those in, it's probably going to gain down at about minus four to minus six, somewhere in that region. Last but not least, we've got these three hertz. We're just going to select them, press U to loop around the area and just unmute them. And we'll treat this as our middle one and hot pan. If we decide that balance doesn't work, we can change that. And we're going to just use Shift select all of them down your back and just bring those into we can hear them. Something like that. So that gives us a rough balance. What I would do now is actually just listen through the whole track. No effects, no mixing, just a rough balance. And just listen through for any issues in the vocal, any parks or clicks or things I wouldn't expect. He places the vocal, maybe it's lost and we can start thinking about compression and things like that. Good. See. Stop it. There's two things I've had. One, this needs something else going on in this area here in which a tiny little pop just there because I've heard it, I'm just going to go back and address it, so we're gonna play it back. Listen to see if it occurs again and what caused it. Sounds like it might be on one of the vocal stems. This is like think it's gonna be that tiny little bit there. So what we're gonna do, all three of these, track them back just to see if that gets rid of it. We're just listening through a tiny little things like that. Is this. All right, so that's all we do and we endure really found that one issue in having listened through this space here to me just needed something, but I've got an idea of what we're gonna do for that and we'll start building that in as we go. But overall, sounding pretty good. Now, one thing that I will often do here is actually just add some notes. Attract, just so I've had to listen through. And if there's lots of ideas I'm having, I can just note them down really easily. The way I note them down, It's actually on the mixer here. If we click on Review up here in the mixer, we can go to channel strip component. There's one here called notes, and it adds a little box below on the vocals of 65 tape delay and filter, which is my idea for hamburger. Sort of flesh this out and still have the vocal rolling through it the whole time. If I come across mixing issues and things like that, you'll see me start to fill this in a lot more. Somebody I use a lot definitely at this stage. I think with that, let's move into the next section. 11. Tape Delay FX: Why we thought about it. Let's try the vocal tape delay effect that I'm thinking we're going to use in this section here. And as with everything in this, the ideas aren't always, necessarily going to be final, but this is what I'm feeling is going to help fill it out. And it's really cool technique to show you. I'm going to take the middle vocal Hicks. I think that's what's gonna be most useful to us. This part just here, what we want to do, you have it play across this section, but we're gonna take a little part of it just to keep it rolling through C. And we're not going to cut the sample up or anything like that. We're going to use some automation using one of logics plugins. We go into delay, there's one called tape delay. This is really useful because we can control the feedback in great detail and we can push the feedback beyond 100%. That's really important here with a really been making use of that. I think one over force probably gonna work about right for us. I'm going to try and capture this last phrase with it. That what we need to do is firstly, we're going to modulate the feedback we need to do. Firstly, we need to make sure drives back at 100% wet at 30% will probably be okay. We can adjust it later if need be. We are going to modulate is feedback. Let's make sure we've got automation lanes on where it says volume here, we're going to go to tape delay and feedback. Now over this last phrase just here, we're going to need to put some points in so we can have this be off the entire time. And then when it comes to here, we need to feed it in a little bit. Let's just hear how long this lasts. 85%. That's good. At the end of about here, It's still going, we need to do then is just start ramping up the percentage beyond 100. Now, this can very quickly get out of control. So work at a low level or even put a limiter on the channel. It can't distort the very quickly. Get out of control about here. We're going to stop bringing that back down. So for 100 range, we can just have it maintained pretty much as long as we want. I can bring it out around here. Now the trick is to make sure it's still nicely audible in the track. Actually a little bit loud. So what we can do now is bring the wet percentage down to something like 25 instead. Adjusted that balance. I actually went to fade off a little bit sooner than that. I'm going to bring this back. Just dial this back to sort of AT, so it's got berber slope happening here. I don't want it to get quite as loud as it was, so it goes to a 126. We're going to bring that back down to 120. And the one-to-two here, going to bring that down even further, say 110. And that should hopefully give us our balance. Somebody else needs to do is make sure it's not in the start either. We didn't want it all the time. We're just creating this effect here. It nicely sat in the background. Just helps fill that space, just a little something in the background. Now, when we EQ and compress, it is going to adjust or we can just bring that plug-in further down in the chain, that automation is going to stay linked to it. So we can really play around with that. But that's the idea that I was after just having a little something else in there. Now, when listening through to this section of the track, the piano starts to become a little bit more repetitive. Not necessarily the melody, the melody sits nicely, but it becomes obvious that it's median. It's almost the same thing happening over and over again. What I'm going to start doing is blocking things out in sections and joining. It's like the melodies together. If we select all of these, we now press T and G. When we tap them again, they're all going to join together. And now we can work on that section or the one-block to get back to the points to, we just tap t twice. Now we can double-click on here or press a, and we've got. All of the information for this whole section of piano. As we can see, the courts very much all the same level or starting at exactly the same time. There's no real fluctuation going on there at all. And that's why it becomes a little bit static. So we're going to really play around in here and try and adjust this, especially where there's no vocal. So in this section here, I want it to become far more of a feeling of performance part. We're going to use a similar trick as before. We're going to highlight just the court said, look at it into functions, the midi transform, we're going to humanize, but I'm just going to humanize the velocity. I don't want the position to change. So over here this needs to come to 0 and the length doesn't really need to change either. We're going to bring that to 0 and about 10% change overall in velocity should be okay. That should open up the code a little bit more for us. And what I'm gonna do now is habits of the chords gradually build up in level. Say this first one, and take it a little bit lower. You can see they actually build up quite nicely already. Maybe have a tiny bit up on here. I'm not going to have it. So every note is louder than loss, but just the average goes up. Throughout this passage. That's just gonna be a nice way of building up and given some feeling and it won't be too obvious over that length, That's fine. Either. Works really nicely. It's really subtle, but it builds up and changes. Let's try our own contexts. I think that works really, really nicely. Actually. We're gonna keep doing things like that as we go throughout this whole project. So let's loop this section now, quite a predominant section and the track for us, let us see how we feel about it. Okay, So something I heard that doesn't exist, which is what I say when I feel there could be something different there. I hear it and have the idea is just to double up the court just before that second row who comes in. It doesn't happen all the time. What we want is it perhaps to happen just here. See the focal lens just here. I think we're gonna have a short code and then make this one land again. So we can do really easily by just going t and I zooming in and we could just cut the cord like this. Now let's be a little bit rigid. So let's end with this quote slightly early. We're going to stagger it just a little bit. Might not even really be audible, but it was comes into the feeling of it. And who just change these thoughts? I'm just the tiniest amount, so it feels like a natural cord coming in. If that idea worked. Definitely, however, I want to make it quite a bit softer, brilliant, and we're going to humanize, again. We're going to use pretty much the same technique just to move those velocities around slightly. Setting should have reset, will do that operate only. Be a nice soft coordinate that lands with the vocal. Actually shorten these three notes up. Haven't really rose in as well. That might be the only time that happens in the truck, but it's just that there was significant change is having listened to her against if there's anything else we want to keep changing. So this time when these main vocal sections come in here, the melody starting to get a little bit lost. Now instead of a tackling that with what EQ or compression, we can quite simply find the right section. And we can just give our melody in this part a little bit more EMF, we can just bring it up like this and make it really part of it. I think again, we can do the same thing. I think again, we can do the same thing with the court, but we're gonna give them a bit of humanization and then we're gonna bring them all up in level, this whole section from here. We're gonna go functions, midi transform, and do our human eyes trick. Make sure we don't change the position of the length operate only. And we're going to bring everything up to that louder quote that we had before. For the last four chords. These ones just here, I'm actually going to bring those up even further. We really grown to a crescendo going to bring the melody up, so it's among them as well. Good, let's move onto the next section and keep developing this project until we can play it back. And it's really enjoyable to listen through the entire track. Somebody I do want to say is, obviously I'm working in this section here and we repeat again towards the end, I will likely do some really subtle changes. So they're not identical copy and paste sections, and it's obviously different now, but we can make it even bigger and more crescendo in the second section, let's see how we go with it. 12. Creative Mixing Phase: We're going to spend a lot of time, I think little tweaks and really making this track unique and lots of little places and something I think we're gonna try wheat. We made this little blanked out roll here. Try something similar here. Let's get the vocal in the background at that moment, what we're gonna do is just take out even the break here that we're going to take everything out for this whole bar, which can use the inspector to mute anything in here that we don't necessarily want. The drama track here. I'm actually going to roll that back for the bar and just use the plus to add another one. I'm going to double-click it. And when they try and just build up a row, just using the trauma here. So I'm just going to put the filter through to full, put the kick in and the toms on and just see what that does for us. Quite like that. But what I wanted to happen on bar 65 now is a crash to happen, but I want to keep this same section here. So we're gonna do our right-click that we did before, convert it to a midi region. Now, we're just gonna make sure we've got a nice crash the stars off on here. When we zoom in on here, it gives us a nicer name of everything that's included in the drum kits. We should be able to find the crash quite easily. Left and right crash that. Let's just see how that works for us. Definitely not loud enough. So let's take the two and just bring them up. And velocity seemed to be a little short, so it's just roll those out because they're both the crash, stop the tail off pretty quickly. So we're going to lay them up with some other sounds so they've got a nice tail off. Unless loud right in there as well. We're going to use the reverse crash again as well and went to keep it on the same channel, mix it about the same, make a copy of it and you using the inspector will flip it back around When it to tail off a bit here. The last thing I want to add, I'm going to find another crash just from the leaps library. You can bring up the loops library just by pressing. We're just going to search crash. It will come up with a few sound effects and things as well. But there are some crashed symbols. Once you know, work quite nicely, a big crash here, I'm just gonna highlight that hit Command and D just to copy the track or put that long crash in there. And as long as I want it to be ever so, we will drag it back, touch that's gonna be very loud. On the inspector. I'm going to take the game back. Probably about nine dB in total. Was actually too much. We just take it back. That's a ring off for a little bit longer than that. That's just giving a little moment. Somebody is about to change and then our strings come in. So let's just listen to it all in context. That's working really nicely actually with the vocal coming in. There are strings come in and vocal them rises back in and that kind of dips away just as the extra melody comes in, as we're building up really quite nicely. Let's listen to the whole section like from this intro, right the way through and see if there's anything else we feel like we might want to add. Me. I really like how we've built that up and there's not much more I really wanted to add. Now, what we need to focus on now is getting a really nice balance and I'm going to stop mixing this track. And as we do that, we might come across some more changes in bits we want to make. But for the most part, I think that's where we're at. So let's start that process. 13. Creative Mixing Techniques: Okay, So let's dive into the creative mixing stage, which is really going to be the sound designer making this up, we've used a lot of presets and very quickly designed sounds. Now this is going to be more about making it feel like this is our thing. But I think a big thing to address as the piano now, it was already kind of preset of my piano, which just had a very basic EQ compressor, tape delay on. It sounds good. I think there's some other things that we can maybe do with it. I'm almost certainly we can give it its own room, a bit of a space. We could potentially put it into the large hole this up here. Let's just try that out for the first thing, we're going to go to bus large concert hall. If we just hold Option and click it will take it to 0 for us. And we just need to make sure that the board has been taken off of mute like that. This huge delay. Now, we're not going to want that because this is kind of a fast-track. We really need this to be on-point quite quickly. So if we just open up ChromaVerb here, chroma website, fantastic reverb. So it's some really useful things like this pre-delay at a hundred and four hundred milliseconds. Quick click this right here. We can actually bring it into the exact kind of delay time that we would like them. Something like one over 64 probably be a bit better for us. That's giving a lot of his own tone, but there's a lot of low end. They're, ChromaVerb does have something dead useful built into it for us, if we click on Details, it has an EQ here. We can just put this little tail here, which is going to roll out a lot of that low end there. And we can change the sleep just down here to 12 dB, like that, bring it above 200 or kick and snare going to be in that region. We want it to be rolling off by that, especially just on the reverb side of things. Given that a lot more space we take it away. Sounds really cool at a 100%, but it's probably never gonna work actually in a track. So I'm probably just gonna have to dial it back just a touch, just listening in some contexts quickly. That's quite nice. Just there. I've taken it back by 5.4 dB, I think. But whatever works for you at the end of the day, something else I like to do on here, if we just go back into the main section, I'm just going to level off the low-end section here. I quite like it to still be a pretty bright reverb. We've taken a lot of volume out of it now, I want that high-end is still really be there. It's not natural, but it's not necessarily what we're after here. That's quite nice. We're given lots of extra level to where the melody sets that gives it its own space really quite nicely. Or you can use the mouse wheel on these points just to control them. Or there's a key value at the bottom here. We have it kind of narrow like that. Bring it up here as well. That's quite nice. The other thing that's using this large hole is very subtly being used by the strings. So let's just make sure that we've not made any overly negative changes. Just make a quick leap here. Sounds okay. It's barely being fed into them, to be honest. It's something else I wanted to do with the piano is kinda warm it up a little bit at the moment, let me say a little bit Code, but maybe a little bit small feelings. I might try and use some distortion just to beef it up a little bit and kind of warm it up a touch. A couple of options we could do. We've already got the compressor on here. We could push it like this. Distortion on here on the SSL channel. But it's been a little bit more creative with it. Try and use something else. Distortion before the compressor. This might cause me to need to reset the compression. I don't want anything to be changing the dynamics that we've already got because this is preset for me works really nicely as it is. Down to multi effects. We've got fat effects. Let's just drop that in there. It affects is pretty much a distortion plugin. It's got a huge variety of what can be done with it across the bottom here with different types of distortion, for example, the order that they're in. So if we just want to say very dry, for example, we can actually just drag that right to the start and make sure all the other types of switched off, everything else off there. We should have distortion, distortion setting here. We've got a crash off sat very dry. We can just take those 2 0% and just push the very drive right up. We can actually have a blend of those three. And if we switch it here, you can see it actually switches down here as well. Notice as well the order I've got it on here, It's different here because we can mix and match the flow of it so I can put the tube in the middle even though the tubes on the right here can be confusing. So you always got to check that bottom row just to make sure you've got the right combination of what you're after. So it can't make a difference if I put tuber bit crushed like this, for example. If we switch them around completely different firebrand, the order is overly important. I think we're just going to have a little bit of tube push hit. Make use of the bandpass and just bring it up to 30 hertz. What would distort like this? It can add lots of extra harmonics. We definitely don't want anything I did below there. We could probably go a lot higher but probably tackle it with EQ later. I just don't want to add is some crazy stuff that we can't see that know what's going on. We shouldn't make sure that bandpass introduced. We don't really want any resonance on them either. Just send that limits off for the boss to that. I can still blend the two together. Some of the originally this would be quite nice. Compress it directly after this as well. Gta, VCA, really long release. Failure, switched off the lower tones. All right, okay, however, when we get further in and we've risen up systole and the thought of the self setback. With progressive. We've got Ed in the London released, I slip up an EQ on the logical crime of F. Just hear a little something guy on the lower ends of just, again going to throw that away. She rounds here. A hospital on the sleep. It having the blend here is of course this a little bit of level and then bring that backup with the compressor. I might actually distort it here for that game. This is try that out. I'm not really after balancing our or fixing frequencies here, I'm often making this sound feel a bit like it's more my own window. Then switch everything off. We're just going to re-introduce it already here. How different that sounds really, is. This really coming from fat affects crushing it down and adding a little bit of grit to it, the compressor lifting or backup and the reverb is really helping us make that into our own sound there in terms of the piano. And it will seem suit, sit relatively well sound-wise at them in it with the rest of the track. Yes, Sounds good. Now, I'm going to try and dive a bit more into the research and see what else we can do with that. Now. 14. Further Creative Techniques: The minute the slides just kind of sitting there moving along, does its job, It's fill in the space. I felt we can layer this up with something else. So I'm just going to make a duplicate of that and get rid of the EQ on it on a duplicate, copy. The risk down here, the alchemy passionate when the switch out for us to have a couple of preset racist that I've made sure to pop this one in here and see how this works with it. A long way in a lot more of that, not to receive DMV felt. I think having it in as a second layer would be good. Mine up pops and clicks with the way it's being played in this instance, what we're going to use the voices down to one, but in Legato, just have a slide from notes. I'm slightly worried that we're gonna have some issues with it phasing a lot left or right on the channel itself. I'm just going to go into utility gain stereo. And here we can monitor summit real quick and just make sure that it does actually still work in money. Certainly this is a lot of the weight. What we can do is leave the game plugging up with Mother of you continue to tweak the preset. We can get some of that low-end back. There's a few different areas we can look at. Teaching would potentially be a good place to start. Teaching, not giving us the result we need. In addition to get some of the field back and working in mono spent to switch off unison and adjust the balance down to the lower of the three. Somebody I want to happen now is for these two to also work together and be treated together as well. So we're going to do our same tricks video before and just make a bus for them. Rename it together here and a bus. Just click up here and we can introduce a compressor. Steve, fat. Be quite noisy compressor and lots of feel to it by hand smoke control that by, by three dB. Response together. Attack. Why is gonna be slow aspirin 87? Nice wise, probably about 120. This as well. I just ratio a lot to get that level of impression them off the threshold. You can get a lot more responsiveness ratio. If I was to put the ratio right up. Getting compressing very smoothly. However I want to play with the threshold, I can get to jump a lot more because it's dependent on those pulses of level. There's a balance between the two and the tastes and you're after. Jumping up a level with new auto again at minus 12 years worst switches off. Again it up manually. 3.5, which seems to be the maximum we really take out. They're just see how it goes from a single into having the extra stuff in there. Good. It feels a lot more like a drop. It builds up. You don't instantly go, oh, there's a new base and you just kind of feel it all swell up of the kind of thing that was after really with doing that. The other thing I think I'd like to do is adjust the cutoffs of both over time so they can build up an ebb and flow a little bit rather than just being this static like a wobbly sound that's in there. We're going to hit a for automation. Zoom in just a little bit using the mouse work. And what we'll do is select just this block here tab you to loop around it. I'm going to set both of these to find the cutoff so that S2 from the low-pass filter cutoff and the alchemy we need to go to source a filter, one filter cutoff. That's where we've reduced it. So what this lets us do this balance between the two. So we can do things like open up the calf or the S2 separately to the alchemy one. Really play around with how it's going to perform. We do this potentially over each note and we can just use the pencil tool to just click and drag in. If you'd like, you can assign these to control the urn. Use that to manually draw them in by name means an incorrect way to work. Actually really enjoyed doing that. Like I said, it started this course. I wanted to make it so it's accessible for everyone. So if you are just point-and-click, you can do it that way because we want to link it to a controller and do it with a control. Absolutely a great way to go. It has clearly seen much sandwich just going to play around with things like just to get a little bit of a different feel. See how we can get slightly altered sound. Different points in the notes. We said desire, and I wish you use the marker here to line it up with key moments in the truck. I think I wish to allege it really had was the ability to add like a wave in HQ, make like an extra pulse occur. But alas, still not yet. Fl Studio wins massively for back slightly. Push up. The ends were press T and W is the curve there. This might seem like a really trivial small details, but all of those are hundreds of small details and build up throughout the course of a track. And that's really where you get character from in electronic music. It is where it exists and how it kind of transpires, track something like that. Now, let's listen to it before the automation. And then with the animation. What a difference that makes it makes the segment they're much more listenable because there's this constant change. I mean, not just to change it, no. It's gonna be really subtle when you listen to the track. But it's gonna make a big difference overall. Vocal content, it works quite well that it's no longer kind of showing off in the background and poking through the mixed cost. It's all about the vocal at that point. What I will do though, is take it from here and apply again to this first section. It's not going to be a repeat because it's not Chuck's during and fighting with the second base. So what we're gonna do here is just change our second tool to the Mockito and we're just going to hold command. We can highlight this. By holding option. We can just drag that animation along and said it about the right place on the first section as well. So this is going to sound different to this because then we thought the juxta of the other base coming in and then they both flatten off and let the vocal takeover. We've got different parts of the track or performing at different sections now. So let's listen through, hopefully that's made sense and then it's a good constructive ideas for you in creating your track. I haven't listened to that. Let's use the marquee tool again. We're going to do is move the sections ever so slightly so that they don't compete with a vocal, but instead work in these intimate a bit in-between. We wouldn't need to use the marquee tool. What we can do is take this section here. I have this quick that was spike up here as well. But just as the vocal comes in there, just let me just line it up with that. They're going to be a bit much, but dial it back a bit. Just gonna start rising up for this section here, we're going to try and bring this little wobbly. But in, just before this next section starts like that as well, going to put another point in right at the end. We're just going to really raise it exponentially, but we're going to curve it in like that. We now got a slightly different performance working with the vocal. Then we've got the two basis performance together. The book, pretty much no automation. As the whole of April takes over. I am really, really happy with the way that sound him. Let's move on to our next creative endeavor. 15. Creative Delay Options: I think this will benefit from, especially in this section just here. If we give a stereo effect to that race, but I don't want to affect this actual track itself. And instead I'm gonna send it to an orcs and give it some effects that way wherever that play around with some ideas, probably use a chorus. We need to make sure we take all the midst of it as well. So I'll show you a way we can do that. But what we're gonna do here, we're gonna give it another bus into buses. And I've been scaring these about logistic, this one on five, I'm just going to do is call it wide baseline. That just so I know roughly what it is, what's gonna be doing. Send the signal to it on here. We want to go into our effects. We are going to look for the stereo spread plug-in and try that out. I was gonna say, we want to hear just what the effects during really the uppers amidst we want to spread out, bring the base in as well. So let's await us mainly on the sides. That gives it a bit of a spread that's not too bad, that's popping EQ. What we're gonna do here is we're gonna change this EQ from stereo processing to meet only like this. I'm going to do a really steep sleep. Take away. The mid should just be left for the sides. Now, when we bring our other Basin, the original base that's making this as well, that should fill up that middle space. Whether it's exercise, we mutate. Super central, makes it feel nice and spread out. Something else we can try it with that is using a chorus that's gonna be a modulation. Well, the mixed being the 100th since it's on an auxiliary and I'm just going to change the rate and intensity. Just put in before the EQ. So we're still filtering away the midst and just leaving the site alone. We've just got these size was different than the left and the right. The big thing, summing all this into the stereotype, we just put the game plugin on stereo out to switch into mono real quick. We just wanted to make sure our base doesn't disappear. Still finding bother me, I got this big widespread base. That's going to be way more interesting, especially in this section here. That's way too intense at the minute. So we can tell this down, right, probably minus six dB is going to be about the right bet for that. Getaway. Little bit higher. Three. It might not work in here, so we might have to automate, fade away, but we'll try out. Now that works really, really nice. All right, something I was thinking about doing with the strings, we're just using a bit of a cheat tape effect. Now I've got the strings EQ, just here and there. We'll bundle or ox together. Perhaps it's just leap Brown where we've got all the strings together. Way we can kind of abuse the tape delay plugins. If we open up our tools, go to delay, grab tape delay before the modulation of the wow and flutter aspects at the bottom there we can actually turn the lay self. That's an, a feedback off, wet all the way up to a 100%. And now we've got our clipping threshold or spread modulation of bomb. I'm just going to give it a little bit of ideally like not quite a sample fail, but something that makes it not so uniform. That's the tape had made. We'll go for diffuse to bring their local up to around 200. It's not gonna be in the way of the snap LFO. I'm just gonna die awesome. It really subtle settings in there. And then for it to work, we need to apply feedback. Feedback needs to be really, really subtle here. Hopefully you can hear that as kind of giving almost like a ripping at rise going through the strings. If I put it up to a 100, it will be really extreme. What we're doing is basically mixing this really extreme kind of effect, really solid into the strings here. Because they've heard it. Let me dial it back down to 23 I think we were at and you can still here, it's still in there rising up, but it's just hidden among the strings. I'm just going to play it in context just to see if it's worth it. I like to give you that light rise and fulfill. Stands out loads for me. I can really hear it and really likewise doing, just give me a really slow ebb and flow among, amongst that string section. So just check that it's gonna work and marks the whole lot of the strings and throughout the whole track here, as we go on for longer than just that section. All of the strings themselves we've got effects on by default. I'm just going to have a play around with the staccato element there. I just think we can distort them just a little bit more than this currently already going on. Okay. I added a little bit of grit. I didn't little bit of soft saturation, taken the amount down a fair bit and really reduced the release time a lot on the compressor is walks, they're quite short sounds. And that was making quite a big difference actually when I doubt it back, it was just really affecting the attack rather than causing it to pump on that Vintage VCA there. I've got a couple of ideas of things we can play around with, with the vocal. So let's dive into that. 16. Creative Bass Effects: I said this still pause here. I want to do something with this. I think what we're going to do is like a roof or vocal delay kind of thing and just fill the space out a little bit. Blend into the next section, what we're going to do, duplicate the one that's the mid vocal. Just Command D just to make a copy of that truck. Yeah. I'm gonna bring this down. I don't want to copy anything from Unless to get on the bunks. It's not part of my main vocal. Somebody use it as an effect more than anything. Mixed wise, we had the tape delay on it. I'm going to disable it, but we might still use it. So I've left it there. Let's just turn automation off so we can zoom in on some quick listen to what phrases we've got. Fast, quite nice. This looks like it can be useful. Hit T and I take my scissors tool from going to take this, and let's take this WhatsApp teachers get back to the normal tool, hold down Shift to slept with the other parts backspace to get rid of them. I'm going to use this part here to make a new effect for the minute. We'll put it onto a new channel effect here we are going to go into reverb and we can use, we use Kramer verb, which is fine when the switch the room to a chamber. I'm just going to get rid of these points. Him just gonna flatten them off. Like I want a really long decay, like three or so seconds. She's on the size. I want pre-delay to be instantaneous and a 100% wet. Think reversed this. Let's just play that back down. Let's take that sound there. Just by highlighting. It makes sure it's highlighted in yellow. We'll get into file. Let me go bounce region in place. Then in reasoning, please show me vocals to only verb and just take mixture. We got a new track selected. We want to leave the source alone. I do want to definitely want to include the tail in this a volume and pan automation. No, we don't want to normalize it either. That right there, it's gonna give me this just test out is flipping that I reversed and expect to go into reverse. And I want to bring that up to here. And I just want to see how it works because it's transition. Let's try that. We'll just keep those muted for the minute. Yeah, that works pretty well. Obviously ability to take the levels down a bit and just minus six for the moment. Little less adjustment. We can get rid of that. We're not going to use that again. Now, what we're gonna do here is we're going to fake a delay. So this phrase goes just like that. We're gonna just snap it to that tiny little fade off of mute. I'm going to stick that here. And I'm just going to use the Gain and take it down. It's already gone down by three and take it down by six on the next one, take it down by nine on the next one. Take it down by 12. That gives us just summing up a little bit more interesting. We've left that really long reverb on there as well. When it's at them all down a little bit further. I'm going to drop it by another. I think something that would be really nice. Just hear drums have something a little bit different in the core. That quarter land a little bit heavier, just going to rename the regions. It's got a heavy in there, just so we know that one is, let me slightly different to the others. That code to be a little bit heavier than the others. But maybe not that much. Also want it to sweep in MSO slightly. Those back. Now let's use one of our crashes from before, so I'll just bring that one in. I think. We're going to have to have a quick look at our jump automation as we fill it. Pretty much cough justice, we're going to bring it in, fade it back off to make sure it doesn't suddenly come in. And a half to meet these out. Gets the impression it's about to happen, but it doesn't strip at the reverse in there as well. If we got me. So I like what we've learned so far. Now, little pause here. What I just heard or kind of imagine here I say that I liked like something I heard this. I imagine I could have heard on the track was a repeated just on the sides. So what we're gonna do, we're gonna duplicate this, try and do the same again. I'm going to copy this down, do the tea and I think it was this phrase here. Just take that tape and just have that repeat here. But I knew on the sides, king kids. Yeah, I liked the way that it's laid up. What we'll do is take them down as a couple just by another 2D, basically six we're saying minus eight. So they sit a little bit behind the others. I wanted to do a similar thing here with scars as well. Copy this over here. Just take this off and just have it quiet repeated again just on the sides. We can have it repeat literally right in the middle. We're going to have to wait so that we can maybe take the skull. That needs to be even quest us. We're gonna take based on by another three dB. I think we can maybe do a CPO reverb version of that as well. Copy a gain here, reverse it into this section on that really heavy reverb track, but without having to make it as ensemble this type, but it's a sense of the whole passage and help we've got. Course, I really like it. It's in effect it needs some mixing the balances of perfect, but it helps keep everything. Maybe even it gives a nice extra layer to the vocals on blast him whether they just have to tell me repeat again as well, which just think it's going to sound good. We can just think that that is the tummy phrase. I'm going to have that as a really revamped up version. State needs to go down a lot in level I am potentially that minus 12 it can really sit back in the mix and notice I'm not being super restrictive and on point, but the timing, uh, kind of like it being a little bit off because the music and everything still works with it might change my mind, but at the minute I like the way it's going. I suffer context. Let's have a listen to what we've just done. What would they meet out, all this stuff, listen through it and then I'll bring it back in. And hopefully we are going to prefer it with all the add-ons changes it just made me now I really prefer that adds a lot more to it. It's really so we can, when we get to a mixing stage, really control that bringing him back and get the levels right. But for the minute, because an idea, concept buying on for me. And I might find that the other bits to that through the focus we go, I've shown you this, might skip that in showing you, but yeah, we're gonna do lots more of that to help the song really move on a lot more. 17. More Vocal Effects: Like I mentioned, I might go through the whole track and do lots of those same processes and I don't want to show you those each time. But something that I'm going to play around with here are these EMS that we've got a just sit under the main melody. Something I want to try is kind of like thicken them up, widen them up, give a big feel to it. They sit quite nicely where they are. These just kind of sat in the background. I just want to try doing some other things with them. If they work, I can maybe use them again in other places. So look for what duplicate this channel. And one of the first things I'm going to try is just copy this one down here. Did it in exactly the same place. I'm literally going to transpose it down on octave and see what kind of effect we get layered with this one. What happens if we do the same process again, but you guessed it, let's go up an octave. They work really nicely as layers, and I'm going to do that with the hole up. This is super simple technique that we can use right there. These ones weren't attached the type loss, you can just type the value you want. And when you go up, however, when you are going down and you need to stick a minus in there, let's try that out. Suddenly they definitely need is a reverb and sitting in their own space. Now that we've done that with them, especially it's really evident here on the last ones who maybe we'll even push that into the reverb where they touch of automation. So let's take all three, just shift and click, highlight the whole lot. Let's go to the bus. Let's send them to just do the large room like everything else. That's gonna be way too much, but we get an idea. Okay? That kind of works, that it gives them their own space. There's 2-SAT that quite nicely in the mix. I like what's going on here. Well, I think we might need to do is tune them up ever so slightly lighter, we're looking at putting Auto-Tune on them. A couple of ways we can approach these. We can just use the auditorium plug-in itself. If we just go into our effects into pitch, pitch correction, we can just tune this to the key of the track, which was, if I remember correctly, F sharp minor. So we can just go in here, we can put it in the major minor pentatonic. Take F sharp, gonna make sure it holds it in pitch. Was you're ever really need to adjust is the response. To respond quite quickly. Notice if we had this slower, it went through a whole series of notes. Bring it faster. It just goes through two same context. That's just going to help it hold it and tune. The other way we could do would be to use Flex Pitch. This has worked for us in this case now it's just a copyist over to the lower octave one. We might need to change the range on here, too low, but it's unlikely, it will probably be okay for us. Definitely a little bit slower on the speed. With all three. Now the pitched up one's just got this little bit of resonance in it, which is kind of annoying me. I'm just going to take the low-end out while we're here because we definitely don't need it or want it probably is around the 200 marker. Probably gonna be this here around one window. It's going to make a spike, boost it up dramatically and shorter. Listen to whether it's pleasant or unpleasant. It just starts to whistle here. That is what we're going to dial back. By about six dB. That's alright. The other thing I'm gonna do is just give them a quick rename that we know what they are and I'm going to give it a bit of padding as well. So let's just take a section here. We're going to put the high on the left. I've got an idea of putting in some of the drums in the mix, like the hi-hat and things slightly off to the right. That's where I like to put them. And I think we'll keep the low center, maybe the original slightly off to the right. Let's discuss slightly nice spread about it. No. I think what was good about that? I might be able to use those lower ones in here as well. Because we have three different ones, we should vary them off as well. So enjoyably here. We could say we could try the reverse trick as well. It could be quite pleasant for it. Now, what we'll need to do to get to be able to reverse it. We have to bounce it in place because it's currently got a flex on from the pitch down adjustment. So what we have to do the same thing before we can select that particular region. We can go into File and Export file and a bounce and a region in place. He can't do Command B as well. And we're going to do this rev test so we know what it is and you track same as everything's before. Beautiful thing it gives you a new truck. Now will be in a position where we can reverse it like soap. And we wanted to really transition perfectly into that next phrase that bring it back a little bit more. That definitely needs to be saying heavily to a larger reverb. Essentially even a delay will work nicely on it as well. It's just for the minute. That large concert hall like that. Ever so slightly down in level, it just take the game down by three. Like that. And I'm gonna put a delay directly on the channel. Issues. A stereo delay. I'm going to have a slight difference between the left and the right for left than the right options just here. And then the two differences here. What we can do is they, for example, setting them both to say one over four like this. I didn't have a deviation as well, so they are ever so slightly different between the two. Let me just have a really small percent, but it's still within that range of the one over four. This is gonna be slightly off from each other. A little low COP, probably 300 hertz or so. They really need any of that body in there. The high cut them slightly differently than that, give them different feedback as well. And cross blend them as well. Depends what we need. Let's just play it back and hear how that works. A little transition for us. Works quite nicely. I think it'd be too much to do it in every section here. However, here might work quite well. I think what might work really nicely is to take the middle ones here, use them again, just when the break comes into, the break comes back in here. We use this reverse when we just made a transition into that. I'm just going to use this first individual in here just to feel a little bit of space. Starts just around there. Just noticed a really tiny pop just here. I think it's in this focal. Yeah, it is just the place of the first word, so it might be just this little bit here. We're going to tackle that is just highlight all SRE before a tiny little failure and we're just going to bring this in just so it fades in over that pop. Let's give them use some more creative ideas and it's definitely building up more and more of the very good performance as we go along. 18. Mixing Setup: I've done a couple of extra little bits, especially with the vocals and things, but I've not used any new techniques or any new ideas. And the beauty is you have this entire project so you can actually dive into it and really listen through and see how everything has been saved. Me repeat myself, make a investment in your time this way as well. What we're gonna do, we're gonna move on to the mixing stage. Hit first things first, I'm going to do a tiny little bit of housekeeping just so we can get everything working nicely. Now, as we were building out, I made a drums bus and that sits right up here. What I'm gonna do now is I'm gonna take that drums bus and just drag it right the way to the bottom here. When I go to my mixer channel, we're going to have this kind of mixed mash here where we've got a click and other bits on. What we can do is we can just click on tracks here. Now, this should have everything in order as it is on the screen. The problem is it's gonna put my ox's after that John's boss. Well, it doesn't necessarily matter too much because I'm probably going to have to automate something some point on these other buses as well. I'm going to tap on strings, hold Shift, click through to the wide base, and we're going to right-click and create track. And they are all going to appear in here as well. And I keep them at the bottom. Some people might keep them top. Personal preference, I would like him to be right at the end of the mixture chain. So they are now all there together. Drums, strings, vocals are based on why you might want to color them in the colors of the individual regions over the in your track. I tend to just leave them in a block of yellow and just know that I'm going to work in probably off them five for the most part. Now throughout all of this, I've had a channel EQ on the stereo, just didn't a top and tail. Now we're going to go into the mixing stage now. So if we've got any crazy low-end or some horrible highs and things of managed to appear. Now we're going to fix them individually on the channels. We don't need that guy there anymore. I've had a limited on here which is mainly been so I didn't get any distortion in recording the video. I'm going to leave this on just for that purpose, but just know I would normally not mix into a limited or minus 0.1, like we've got it here. Meaning if I'm getting up to that anyway, I've done something wrong in my mix. But while in the creation stage and messing about with sounds just didn't want any clipping and I still don't want any issues to occur. So it's left on there just for that. As the other thing on here is the gain plug-in. The reason that's on there. Quick switch to a mono. I'm gonna leave it on there, but it's gonna be disabled. And when I need it, I'll enable it and pop it into mono to test things like that. But I stick the limited down as the furthest thing in the chain and we'll just leave that on just in case any issues pop up or we have some craziness with some effects of some kind. Now throughout the course of creating this, I've made lots of gain adjustments. I've continuously really gain stage the track, so the massive adjustments aren't really going to be needed. Now logic 10.5 plays a smart game as well in the certain things that you put in, it's going to adjust the fader. So we've already got lots of feather adjustment is going. And as a result of our gain staging, the smart stuff that logic does for us, we've actually got a pretty coherent balance already. What I'm gonna be doing now is listening to the individual buses that we've got made. And I work in a process where I will actually work backwards from the bus. I get the bus sounding as good as possible first, and then I go to the individual elements and tracks. The way that I would usually work is in order of drums, bass, vocals, everything else. Those are the fundamentals in what I worked with. Kick drum needs to come through, snare, drum needs to come through base, needs to be the vocalist needs to be super prominent. Those are my main elements. Everything else is secondary to those. If those elements don't work in exist, the drum and bass track for vocals is falling apart. Once those are there, everything else can be tapered around them to really sit and work. As you would imagine, I'm actually going to start with drums. Tend to do is loop a busy part of the track. So this section here has pretty much all of our different drum performance is going on. And it has even the roles and things going on here. If I start slightly off, I'll even have extra drum mode. And if we saw the drum bus, we've got everything together. Now level-wise, if I just click on stereo, can see and reset that were coming in a touch hot. We've got 5.2 dB of headroom. When we bring our basin, that's probably going to go down a little bit. I want to be somewhere between the minus six and minus three dB range for my mix this minutes, okay, we need to really keep control of that as we go forward. 19. Drum Bus: Now, on the drums channel, I've got to EQs. Remember I've got one doing this sort of lift up that we had before, an a roll-off here. And I've got the other one that was being used as a filter. Well, it's being used as a filter. Finally, I'm just going to leave it as is, we're not really going to touch it. However, we might need to work on this one here and just have a listen through the sounds as we go along. Now a general rule for EQ and compression. Do you EQ first, do you can press first what? It depends on what you need to Think of it this way. If we got to put a big boost in for an EQ and then compress it. Well, we just reduced the dynamics of that big boost. It kind of defeated the point because if we boosted by three dB, and then we can press by three dB, we lost 1.5 dB of that boost that we made, which was kind of pointless in doing, in which case we'd be in a better position to compress and then do our AQM first. However, if we were removing problem areas, it's often better to EQ first. So in short, there's no specific rule. You're going to have to figure out what works best for you. What I'm going to show you now is a really simple technique I use to find the problem sounds and areas that we might want to adjust the EQ on the jumps at the minute. It sounds alright, the drums definitely needs some work though. Something I'll do here is I'll take a fan that's not being used like this, and I'll give a ridiculously high boost. This is why we put the limits on. Now using the mouse wheel, you can just narrow off that. Q. I don't want it to be too narrow and too harsh. What I'm then going to do is I'm going to sweep through and I'm gonna be listening to bits that stand out on sound really nice and bits that don't essentially there, for example, really brings the shape throughout. That lets me know I might want to work on the shaker a little bit and bringing that out in the mix. That's bringing a lot of the write. Something that's not too nice. So we're going to narrow it off a bit more. Really. Try and find it. This. You can hear that kind of horrible resonant frequency. Well now I found it and we're bang on where it is. I'm actually just going to dial that out just a little bit. Just like that. Where do the same process again. We've got a similar thing going on here with one K, right, or around one. But it's not. An unpleasant sound is kind of like rhythmic. I wanted you to just listen to that and then compare it to this one just here. Unpleasant and uncomfortable. This is actually kind of in tune, is still a resonant frequency, but it's not necessarily a bad thing. Getting into the box range or the four hundred thirty, six hundred area. Having too much in here can really muddy up a mixes. I'm muddy region this here. This can probably take a depth. It's not a specific frequency I wanted to cut here, so I'm going to broaden this out of it. Backup kind of muddies up the whole jobs. We don't really need it, we're just going to dial it back just a couple of dB. I've made two small looking but pretty big changes right now, including obviously this big lift up here. We're just going to a and B, the EQ real quick. How dry up those drums now. Yes, That's a lot. Lot more going on, a lot more presence, but more clarity to it. The other thing we can do is just a and B, the actual adjustment we've made. I could actually go another dB down. It's difficult to hear what this is doing. Focus on the kick drum and the body of the snare when they become more prominent. Because that modernist has just been DECT, a way of just a few of you, but it makes a big difference. This guy here, we might not hear so much, but Problem being when we listened to a track really loud, that three db reduction is being undone. So that's frequency this unpleasant, or maybe even nothing, maybe not. This guy here we might not hear as much, might not be much of an issue. Think of it like this. If we really turn this truck up and that frequency that is unpleasantly suddenly very, very loud. It's kind of become a lot more unpleasant. So dialing it back lower level where we might not hear it makes a difference in the long run, but it's just a bit. Yes, it's hard to hear that really doing anything, but we know when we boost it, sit for the whole track was to be turned out nice and loud. That unpleasant frequencies that we just want to dial it back in control. It tends to the low-end we've seen, Okay, we've just on a roll off at 20. We can probably bring that up to about 30 without really losing anything. Give a bit of room for us solve as well. Yes, sir. That actually helps tighten it up a little bit a little bit flabby. Now, when we bring it in and listen to just tightens up that kick, REQ changes a lot less. Just dq changes. The simple question is, does it sound better with the EQ, the officers? Yes, I am in two minds on my actually dial this back a little bit, but for the minute I'm going to leave them. We see how if gets too bright. We know they're essentially a culprit. Oh, that's sounding pretty good. The other thing, the other thing these drums definitely need is gluing together at the minute they sound like lots of separate drums with a drum brake behind them, but simply you can hear the individual elements. We're going to use compression to bring them all together. We're going to use the Vintage VCA, which is face there and being an SSL style compressive. First things first or again, off ratio wise, probably somewhere like three-to-one threshold right off. The attack wise, attack on these drums feels like it's gonna be somewhere between 1020 milliseconds. What we can do to find the attack really easily take the attack to 0, brush the threshold really far back. As we start to lift the attack up. Punching this starts to come back through. I think it's fair to say around there 13.5 are punching. This has come back threshold backup, release time. I generally stick around for the eNB trucks. They just it just fits really well, but you can adjust it to preference depending on what you're after. Me. I'm just gonna leave it roughly around where it is. I think it will need to adjust it. I'm just gonna throw the threshold back. I wanted to take about three dB up to just squish the drums together a little bit. And then I'm going to lift them back up to check the peaks are jumps at the minute the brakes peaking at about minus six. We get in a lot of extra gain from the depressor. So we're going to tell the threshold back a bit more. It's going to compress farther. Still being around the same ballpark level wise. Compressing by about five dB, given a gain of about 2.5 bucks. The different modules in logic, different modules of compressors or behavior that with differently. In this case, this had been VCA is giving us an extra little bit of gain that were not necessarily putting in. We're taking it down by five, we're adding 2.5 back. But we're somehow still around the same level we were before. So we're getting an extra little bit of lift and that would likely be due to the algorithm it's being run through to give it that, that classic SSL feel a bit of noise and stuff in there, but it does a nice job. We've kept an eye on what we're doing, our levels pretty good. We've kept it at the same point we've compressed, it, feels a little bit louder and bigger anyway. So we're in a good space. And that's pretty much all she wrote in terms of the drum bus. That's all I really need to do. The things I'm hearing now that maybe the drum brake we've used could use a bit of extra compression just to flatten it out a bit more in the mix. And individually the things like snares and that are gonna need some E2 just to really make the drums fully fleshed out. 20. Kick Drum: Now where to start? Well, simply kick our fundamental guess, the thing that controls the track and helps it move along. We need to make these guys work together. We're just going to put an EQ on both side-by-side them. We can see there's quite a lot going on now. The flapping x we will have in the kick before is likely going to be this low end here on kick one that we probably don't need. The first thing we're gonna do is get rid of that because it's likely just having a battle with the fundamental cake here, which is what we've got in kick to switch the lauren don't go for probably 24 dB sleep. Looking at this will probably roll it off to about 60. We're going to take all of that away and make sure we don't lose the body of our Keq. For me also has done is tying up. We're gonna do a similar thing on kick to, except we're only going to go to about 30 hertz. We don't need all this extra low-end been lifted it up here because window we're going to have a sub in the 403020 range during every now and then. We want that to be pure as anything. This isn't doing anything for us. We don't need it there. So we're going to get rid of it. We're going to be harsh with a slave again. And I'm thinking we can probably go as far as I want to hear both EQs on and off. So I can just highlight both channels like this and just disable one out of ten both off way by just taking the low-end the way. Hearing context. It was nicer before. It's kind of a bit flabby. This just tightens it up even more. What a difference that makes. I don't really think anything is needed adding, especially on kicked to buy. I'm just gonna have a quick sweep through kick one here. And just to see if we can maybe lift up this area a bit just to get a bit of a high-end kick field. So it does still translate on systems that aren't Microsoft headphones or speakers to make sure that on a phone or something like that, it's still got that rhythm. They're coming from the kick. I think this is gonna be our way to do it. Maybe, maybe not. Now that is just helping the kicker knock a little bit harder, but I'm going to have to do is be a bit surgical and take out some of the mid muddy mids here as well. Lift that up quite a way or I can about four dB. Listen to how much more than locks now have a boatload of low end up with it. Let's just turn the drums bus off. In here. We've got some, It's normally muddy bets. For example, get that straight gum. Will say this guy here and do a similar thing about There. You go. Let's get those gone. I'm not taking these down any particular amount of just listening for the difference on a widen that one off. Actually. Hopefully you can hear the difference there. I mean, these are subtle differences, but we need to do all of these subtle differences together to get a buying a mixed together. We've got our kicks mixed, we've got our drum bus growing quite nicely, I think now let's move on to the rest of the drums. 21. Snare Mixing: The other big fundamental thing in the drums is obviously our snare. Now we've got a three on the guy. My shops Neff, my sample pack. This real snare layer, every other snack lives. By having those alternators, what's helping create a rhythm? But again, we want them all to work coherently together. Now, I don't think any of these samples need compression at all, which is useful for us. This definitely a little bit of treatment that's needed now, my sharp snare, generally, I just ended up getting rid of all this low end. I made it in a synth and for some reason is to generate loads of low-end. I'm going to take this all the way up. 1 sixth, 8. Way it still has this fundamental. Then what I'm gonna do is I'm going to push the queue up a little bit more. So actually it gives it a boost. And then I'm just going to roll it just so it kind of sticks through that. Let me just like that. Just tiny bit more body to it. The real snare Scott bit of a hat and it's a bit dirty and there's all kinds going on. Still got that body around 200 hertz. There's no real Lorin going on. There's a bit of this burst around six K. You really catch it on the right ear then if you can hear that. Well, I want to control just that right side. I don't want to take everything out because it sounds good on the left. Two things we could do. We could take just the left channel and sticky a mono, or we could eat you just the right-hand side. And that's what we're gonna do. We're gonna do here, so make sure we don't run into any issues is we're going to grab the linear phase EQ. It's just in the same EQ channel is just called the linear phase because we're going to be adjusting just one side. The linear phase stops any phase issue then happening with the left on the slopes of the curve won't dive too much into it. But if your EQ in just one side of a sound, linear phase is a better way to go. Also, if you EQ in lots of similar sounds recorded with the same mic, linear phase can help you out as well. Processing wise, we're going to switch it to write only, as you would imagine, it was around six k. We're just gonna give it a depth around that feels way more central now it's not leading off too much to the right, and I prefer that. Do you think there's something nice in this snare we can also bring out, we're gonna go in either regular EQ on as well. We're just gonna do that sweep slightly broader this time. Just a little lift just to bring some attention to it. The other thing I'm going to do, I'm actually going to slip off a lot of this noise at the end. I'm just going to put the low-pass on, change the slight to 60 dB, dial it back. Need all that burst of white noise in there. I think it really needs anything apart from just got this low end and we just don't need that in a fair and we'll kick. We're gonna do the same trick as before. 18 slope and bring that right up to about 180, just below that 200 hertz fundamental. And then we're just going to push that up slightly like that. All right, so let's checkout in context all of the EQ adjustments that we just made. I'm going to switch the order of the linear phase. We'll try that. The kicks got loads more room, it's low, it's more punchy, works really well. The snare is sticking out quite nicely as well. We've got lots of space for that fundamental. One thing I can definitely here is on the one that we've called the Rio snare are lots of that noise just isn't needed. To find what is the most prominent burst of noise. It's probably going to be right up here, which I take it away entirely. I think it's actually around 1k. Just get rid of that. It makes a difference. Alright, so in the next section, let's dive into the rest of the drums and then we'll move on from there. 22. Mixing Tops: All right, So this address the rest of the drums. Now, the biggest thing really is the Bluebird kit, which we've gotten here. And I haven't even used the multi kit because we really only using a couple of elements. We can control the dynamics by making it into midi. I think we're good to go with it. I would often go into the browser over here and you're able to switch it into the producer kits, which you can see down here. That gives you all the routes for the entire drum kit. And you can individually adjust each element, but for what we're using it for here, so minor, I don't think we really need to do that. And if we solo this guy out, I think what we'll do is we are gonna split that rollouts, so it's great to own the things. We're going to just Command D, the channel just hit, I mean, if it was audio, just cut it out. But we're going to take this bit here and drop it down here. And that's probably the only change I'm going to have to make it. Okay, So that rides the main thing that all sounds really nice and stop logic sounds that sound good. Sure, rename this bluebird kit two roles. It doesn't really need anything doing to it. I'm going to have a look at it with the EQ. They put room mics and staffing to give it a fill. So it might have some dodgy, low-end that we don't need. Fact the loans that allow this part coming out. I'm not cheeky. Just roll you off. Isn't it, Matt, how that sounds super loud as well, but we can't see anything in here. That is the nature of having the compressor afterwards that slamming it and put on hard distortion, check this out. Nothing really going on. We've got loads of level because it's being distorted. We switched the order of these guys. Gonna be a smart move for us. We want that compression to be in there first and then the EQ afterwards. In this case. We're just going to sweep through. I didn't want that ringing too much. I'm just going to make sure that stepped away. Kind of boxy. They're probably just take that back just a little bit. Barely noticeable, but we're gonna make the adjustment anyway. And I think we can do with a little lift around for care for my list really helps the shaker in a nice bit of the symbols pop out together around here. Actually, I just wanted to cook a little bit more. What I mean by that is like give it lift you wouldn't normally expect and I'm going to use a different tool for it. If we go into EQ, we've got a vintage EQ collection. We're going to use the tube EQ. This is an emulation of a pull tech. I actually really loved my UID one, but this was not an option in logic. It's not my favorite, but it will do the job in a pinch. On the high boost, what we need to do is set the high bandwidth. We kind of wide set the high frequency to not happen until about 12 K and then lift it like this. Dial it back. Then we set the high attenuation to about ten Cate. We attenuate by about half of what we just boosted. Was it thaws is lift up that shine. Might be too much. Moment I liked the way it sounds. Much above four. All right, the other thing is it just kind of like candy as in little effects that sit on top. So big crashes in the rows. They'll sound solid. We've already got that roll-off. The role itself here is compressed really hard. It sticks out in the mix. It works as is. If anything, it can maybe come up to 0. It can maybe have its own little lift as well. With the TB will bring it back to about six K though. Now I've lifted up those bits individually. I think that we need the overall big boost on the bus just here. I think we can tie that back just a couple of dB. I think it still needs to be there to a degree to lift everything up. It's now a little bit much and I like what we've done with the right individually. So that should help the right stand out and still be nice and bright and shiny. And everything else style itself back a touch. Think we can probably just double-clicking instead of having that plus 3.5. And probably just about to. I think the last thing, it might be nice to send the roles. It's got a bit of a room reverb. Bus one currently. The others are there as well. What's it like with a full amount? Clearly way too much. But if we dial it back by about 12 dB, nine gives it more of a natural feel, like the peels off as well. Let's try out a level-wise way, way too high. Now, we're going to put the cheap EQ for the compressor. The compressor we're gonna make use of. Our limits are currently switched on and engaged. And I'm gonna be ruthless and tie that back minus six. Now notice it's not hard limited, I'd expect is still dependent on the settings and the feed into it. So minus six was just enough to get away with. It. Still comes out at minus 4.7. I'll overrule bus itself. We've lost 5.5 dB, what we originally had, but with sound in a way, way better. Let's put it all in context. This term, the EQ off here. Let's highlight all of our Channels. Sorry, this is the break we had. Here's the break we had. All in all I think that's improved our drums sort of exponentially over that by adding all of those tiny little changes really minor in some cases. But when you suddenly switch them all on, you see a big difference. That's sort of part one that the drums done next base of vocals and whatnot. And we keep going over and over until we've got this squared away. Let's jump into the next bit and we'll start looking at the base and just sculpting that into its own little space. 23. Bass Mixing: Now we're going to work on the bass in the track. In this track is relatively simple. We've just got that release line, which is this guy just here that we made in alchemy. Just pulses along. Then we've just got the layered up section, which is the EST. Just to thicken it up. We haven't got huge changes and it just fills up the space and kind of move the track along gives us something to sit on. We can do the same process, but we're gonna start with the bus. On the bus already. We've got factoring a little bit of control. Really, really simple ways. We can probably leave that in there doing its job. We know it's controlling the base as we'd like to already. Something I do want to have a look at though is maybe changing the sound a little bit and aligning it up. And then when they do that from the bottom, Michigan start with an EQ very simply. And I just want to have a listen to any areas we might want to bring up. I think the bass could do with a little bit more brightness to poke through in the mix, like in context here we are. Got a bit of space, we can hear it. I think that one key range it could just poke through just a little bit more, just become present. Something else we can see here, which is really nice where we've been making sure we've got rid of all that unnecessary low-end. We've still got that base sitting in this area here. And that's really in preserving their giving it that way in that space to sit alone without a conflicting with everything else or stacking with this frequencies up to just completely waste are low and headroom. So we can just see that rolling around here in the Sub 40 reagent. That one way to do here is give this a boost sweep and I'm not gonna do the big high sweep this time. I just wanted to give it just a few dB up, maybe six dB or so, and just listen to if an area helps it stand out and set a little bit more, fill a bit brighter. We're going to roll with that. Just wasn't thinking might work. It might not. We'll try it for me right around eight hundreds of here. It's just a really nice bit. This stands out in the mix, so let's just do this solo. Subtle left. Somebody that helps it feel a little bit more balanced. Nice. Somebody else I'm gonna do this is gonna be an advanced trick, but we certainly going to try it. We are going to make an auxiliary and I'm really distorted section around that using the alchemy patch. So at the moment, our community already has a basket not to Bus five. I will do this one, really split apart. So when you open the project, you can find it's gonna go to bus 20. We're going to call it this bond. It's just gonna be a distorted band. First thing I'm going to put on it isn't EQ with both the top and this house and the high-pass and low-pass set them both to 24 dB, bring them around 500, around to k ish, ascend the alchemy to it in full. So we're going to have this much, we've just got that band. Now. I'm going to put something ahead of it. If you wanted to put things in a different order, you've got a line appears just above Channel EQ that when they go to multi effects and when they go to effects and stereo, I am going to distort this just using mainly this distortion section here. We'll do something like what I wanted to do is give loads of extra harmonics in this area base. But with it. Now got that extra bed. We can control it from the resection here. Decided how to balance it. Switch off, goes away messy or really they were Reese. Then we can put this really distorted frequency space back in. That's too much at the minute and divide it by minus nine for the range. Let's try and context. You give me some very Drive as well. Hopefully you get what that's doing there, where I didn't really have too many frequencies before. I've now got a band I can specifically boost up without just adding a new QB. So I've just added lots of distortion just to that bird and I can blend it with this control just here. Brilliant doing now is just controlling it. So those extremes, it doesn't get too much. Somebody else we can do to really have a bit of fun with this is looking at paying something like a reverb on it. Who to put ChromaVerb on it and have it. We've got a bit of a different mix. We're actually going to have a 100% dry, maybe something like 50% wet room, studio room space. This works really nicely. The last thing it needs is just some dynamic control. Again, we're going to use a compressor and just do that. We're going to leave this one on platinum. We don't want any special effects going on. But when it really opens up, this is through the store in too much, but it's nice for the other notes. We're just going to control the dynamics using this quite harsh ratio. Something like over for the attack to be relatively slow to catch it. So it can be something like 68 milliseconds. And then the release probably sort of in the 120 range. Knee can be a little bit adjusted as well and it's an auteur off auto gain off. We're just going to dialogue threshold back to catch those key moments. So most of the time we don't want the compressor to be touching, but when it really opens up, That's been one that gets some compression to happen. So you can see that the lower tones that are going on in the compressor doesn't trigger, but when it does open up, the compressor kicks in. Does it nice and smoothly? It doesn't just whip the volume away. So let's a little bit get through and then catches it. But we're not adding any gain with just taking away here and that just helps it keeping nicer balance. I mean, the effect that we've made, it's gonna be quite matter if we saw them out. It doesn't sound like we should put that in a mix at all. But when we put it with the base, just going to help that base stand out. We just got to have a look at the individual to just to make sure there's nothing going on, but we built them buy from scratch or they should be alright, to be honest, we keep this one's already. Since I came yesterday, she's describing gain plug-in on. Just pop an EQ in the yellow, just put a low cut on just to make sure we don't get anything. We don't need them just for that 40 hertz. She probably bringing up to 50. Yeah. They're just a working together. They're being compressed at the bus side. And we've done that disband effect with them, gives it some stereotypes and some space. Just get out again, plugging up on lost the track. Mother. Everything's still good in money. It's very nicely. Yeah, I think that's pretty much all we need to do that we've just given it a better control. The space that maybe needs a little bit more. I've shown you that effect where we can just make it really narrow band distorted control that use ChromaVerb to give it a space. What really well. 24. Vocals: It's time to approach the vocals and same process, we're gonna start with the buses. But obviously the vocals have got lots of other elements and things that come into play. We need to do is have a listen through the different sections and make sure we're not losing anything and see what kind of compression we're going to need. Potentially an overall broad EQ as well before we go into the details of each one, now, everything just goes to the embassy. When we select it, It's going to literally show us all of these different channels. But we need to have a listen to the individual parts and how they sit on the track is also gonna be very important, especially when we're dying and things like compression. So if we look at the earlier section here, It's a lot less dynamic than what we've got over here. For example, if we can press this area and then when we get to here It's going to get absolutely slammed. Need to listen to how everything's going to set a maybe work on the individual channels when it comes to that kind of thing. There's nothing like glaringly studied out balances good even on the other sections we've got right at the start as well. That's all good as well. Here's a really good example of an area that had new compression. Let's take this section here. We're going to zoom right in. You starts off quite loud. However, this last phrase right here is almost whispered. Just starts to get lost. We could do this as a whole on a track, but we need to be really careful that we're not touching the other sections too much because we're going to bring a lot more dynamic out later as well. The other way that we could do it is to bring just that phrase up. And that's what we're gonna do here. So what we'll do to bring justice phrase, I've selected all of these and their tea and I, we're going to slice it just here. Just that last phrase that gets pulled out slightly and we're gonna zoom in. We're going to make sure very subtly that we're just going to put little crossfade in. And we do that by getting this icon up here and dragging the opposite way and it gets a little crossfade. And the reason we're doing that, because we're gonna make a game change. We might get that little jumps to the cross phase, just going to blend the two together. We select all three. We can just add gained back instead of it being minus three that we made. It will make this particular phrase and minus two and just gives it one dB back. Give it into half dB. So it's gonna go to minus 1.5. That just simply makes it more listenable right off the bat. We fixed one small issue and we haven't even had to reach for any effects yet. Let's take this larger section here. Remember this has got all these extra bits underneath and these might need some balancing out that will sit really, really well. Now the reason that the strings out, the strings are gonna be backing element for everything to sell, but they're quite dominating there. We need to really come to dial this back when we mix them with all the main elements in the vocal sits, alright, that as well. It could maybe use just a little bit of compression. That is a big jump between the two. Again, we're gonna go through everything else before we do that, let's take this large section. Let's take this large section, just hit. There something that definitely needs its own space and raising up. We've got the extra little sections just here. They're just pretty much completely lost. My way of resolving that is gonna be to give them their own sections because we can, and we've got enough channels to do so. Same trick is usually we're just going to duplicate them over. I'll do is copy both, just copy them down one like that. Take the back section, just like so. I think it's from here, right? It should give that a tiny leading. Take these two and just roll them away. Just move them side-by-side. Okay, so what we're gonna do first off, just again, they can probably come to 0. The other thing I really wanted to do is send them quite heavily over to the reverb. Send them off to bust too with the others. Perhaps a really harsh and out way too much. The trick we're going to end up doing on these will be like a really long release, but we'll probably come tackle them individually rather than looking at the bus here. We know that this last session should be all good as well. Balance wise, we can hear the vocals all the way through something that needs to happen. It's really going to be for these loudest sections which works out well because we don't have to go crazy with our compression is just to glue them together a bit. They feel a bit disjointed still. They will happen together, but you can kinda tell it's more LA or do you want to make it feel like a big thick vertical? Same thing we did with the drums, little bit compression, stick them all together. So we're going to put a compressor on there. I like to use usually the Vintage VCA. So we're gonna do that again. I'm really light on the ratio of about 2.5. Dial the threshold in. Going to bring it right back tack wise, I think it can be relatively slow. Probably around the 40 region. Do for attack is we will just dial it in real quick like this. So it says 74. If it looks like a nice, it doesn't suddenly pulled out from the vocal. Lets it happen a little bit. Just do that by compressing it really, really harshly. And then you can kind of hear what's going on. If the vocal comes in, it's somebody pulls it back really quickly. It doesn't necessarily work too well. So I've ended up at about 74 milliseconds for the attack on there, just bash the threshold back. Now, I don't want any makeup gain. We want auto switched off. Actually, we can leave it also released on for the vehicle and we would do an auto gain switched off. We don't want a distortion. Let's just die with us. And I just wanted to catch in maximum sort of three dB. Let's just test the level of slackers as we've seen before, it can be a bit temperamental with a VCA. So before the peak was peaking at 7.7 previously for that first little phrase, Let's have the compressor back on nearly a DB either. So we're just gonna take that extra dB of gain back down, right back in the ballpark. We were perfect. I actually don't think we need that extra gain that I think we can let that vocal sit back a little bit. And something I'm hearing now is maybe we can compress the Girondin little bit harder in line with everything else. It's a little bit of compression is helping the vocal stick together with a little bit loud, like we can share it really well, the whole portion of the track. So what do you know how I'm going to turn my monitoring write down? And the reason we do that. So tracks just barely audible and I'm probably going to bring the focus down a few dB here in line with everything else. It'll be the same level right now. Really quiet. Today, they'll disappear. Yeah, I think that's a nice, balanced personally. Eq on here and can do the same trick of making sure there's no nasty low-end. We can see she's got tones all the way down to a 100 hertz. So we're actually going to roll it off or up to 80. But we don't want to lose any of those most fundamental role through there. If we adjust the Q sort of 70, five-ish, somebody to 80 is usually nice and flat. Leave it as a more gentle roll-off on the vehicle. Sweep around the 10-K. area. I think we're probably going to dip a little bit of Forky and actually bring a little bit of six chaos just seem to ever so harsh that and maybe like some, some sort of shines missing a mighty can use the cheap, the Patek to lift the top up after taking up some of this. But wherever listen to I could well be wrong. Francis Moore, rather three regions. It's just about TDB. It's really nice shine right around that. Six k. Think I'll actually do is use the high shelf on here. You can tell we're just going to give about three dB or lifting. So just some really harsh type noises. We're going to take that band. We just switched off here right around ten case quite narrowed. Just dial that section back down to where it was. Is another way we can catch those sorts of things is to use a DSLR, but I'll do that on the individuals which we're going to start diving into. No, we've going to start with a sensor or just here. The first thing I'm going to get on here is in fact the DSA. Yeah, this is the ds2 plug-in. It works a little bit like a compressor, except you, if you're finding it over a specific range of types here, like a high pass band filter. And then you set frequency of that band filter here. If we put a filter solo on them, we can just hear the issues and we're gonna try and catch some of those Ss and bits that pop three. I think they're actually quite high up in this theorem. We can actually see it catch so here, capturing them and taking them down a bit. However, to really, really taken a lot of context. Hopefully you can hear that sticks very hell of a lot more. This just takes it down. Just that S sound, just that little bit. Still a little bit much. Again, this is the loudest section of the vocal say shouldn't be damaging are often negatively impacting any of the other areas. Is kicking in. But barely even though these site takes King get the same performance, same microphone at the same time, I will put the DSA right at the start of the changes to suppress those as well. Let's listen to that phrase that has the S's in right at the start here. In context with all of them been DSST. So still seems really harsh, isn't it? In context of a track? Just less impactful now. 25. Vocal EQ techniques: All right, still working on these main sections, I'm gonna get an EQ on each one. I didn't think they really need any correction, but they can maybe be some improvements made and we can maybe find anything that needs to come out, but for the most part, they sound good. Let's solo the center ones. What we're going to work on first, we've got loads of low-income. Remember, we've actually got rid of that, the bus stage anyway, so don't need to worry about it, but we will just stick on a low-pass and we can just brush it in a 40 and we know it's taken care of by stages. Then we know that it's taken care of it by stages. So let's do a bit of a sweep. It's something that I'm hearing is a little bit of a lift around 800 is actually maybe going to do this quite nice, especially on this middle vertical. And we wouldn't necessarily need that on the side, but just that actually worked really quite nice. And think, again, benefits to use vintage collection and use the cheap EQ. What we can do on here is we can draw this to around 800 mark on the low peak, we can actually pick up a few DB. Let's take busiest section. Makes it feel a little bit more upfront. Let's just try it in context them off the sides me. Let's just help lift the vocal in there a little bit and we'll leave the channel EQ on. We'll take that bump out and just leave it as Cutler to lose becoming evident as we work on this, as the piano is a little bit loud. Now, what we can do to sort of negate that is quite simply just turn it down a little bit. Currently at minus 1.4, we'll just take another dB out. So we'll just do minus 2.5, just a little bit lower than it was. Notice how I decided to take that down instead bring anything else up. Generally, always gonna be bringing things down at this stage. We're gonna be close to our headroom, is it is going to be reducing and taking things away unless we're really gonna do a bit of an ICI boost, add a bit of filter something even though we can cut other areas and bring the level up that way. On the sides, I'm going to bring the cheap EQ over as well. I could hear the sides really benefiting from just make sure we turn these low peaks back down. Lift probably around the one k region. So up in this top section here we've got the high bandwidth, the high-frequency, bring that right down. So 1k, the bandwidth, it's sort of not just this narrow spike. We're gonna be extremely, they get to 60 dB, that should make it really stick out. And then if that's too much, we can just work our way backwards from there. What's going on now? We've got all of the body in weight is in the middle vocal with that 800 lift and just the way it's been treated. And then we've got an extra little high-end difference on these ones that are panned hard left and hard right? So if we were to listen to it and soley, really quite harsh and thin. If we listen to this one, it's got those are body to it. But when we put them all together, it really doesn't make sense in is we've got all that. Wait in the middle. And then the big stereo effect is kind of like the thinner aspects. That's all working together pretty nicely for us. Now, a lot of these effects here, oh, actually really nicely balanced already, which is worked out well. And that's what we've been careful with our gain staging and planning it as we go ahead. The only thing I would like to like to do is just maybe adjust the balance slightly off the higher one which is sticking out just a little bit too much when everything's together. Literally just wanted to bring it down. Maybe minus seven where the others are up. Minus five. Just stops that kind of not quite a Pearson time, but it just bounces out that there's this extra behind in that. I agree. You might disagree, but that's what I'm going to roll with. Checkout. The extra little bits here that we put in and we built this. And we were very careful to make sure we got some sensible levels. King. For me, it will seem good and they don't need compression, they don't need EQ being sent to some effects, and obviously we bounce them. Ours. Effects with straight into stereo strength, audio is good. We're pretty much there at this point of Boston to do here is how a good listen through and see if anything's sticks out overall. And we're going to turn off any elements that wouldn't necessarily wouldn't necessarily want to be in there. So if we turn off the piano, for example, the strings already taken away, got all of our, just our main elements in focus. Now, if we can't get me listening through, we're in a good position. The next thing that we really need to look at is the piano, which mainly is a level thing, definitely some compression and then we've done lots with the velocities. But at this point that's compressors control dynamics that way. Probably a touch of EQ as well, but for the most part we are very close. 26. Instruments Balance: Alright, so these last two elements really we wanted to be getting the piano in. We know it sounds good. We do start cheeky preset. We already have made, we've already got some compression on it. I'm thinking publishing that actually compress it a little bit harder. I'm just going to push the ratio up from two to 2.5. This control those dynamics a little bit more and yeah, it's gonna take out quite a bit in places, but what we need for it to sit in the track where it's really getting lost. Do you think we can lift up just a little bit more? Just going to use the high shelf from six K or so. Just keep it a little bit more of a lift up like dB and a half, just to give it some shine on those higher notes. It's not really going to affect the courts massively, but the melody just helping, it's showing a little bit more. It doesn't look like there's any low-end down there, but we're not gonna take any risks with it. On 24 sleep, we can bring it right up to 50. I think we fought the vocal sound just a little bit too much. I'm literally going to add half a dB back. I think that's pretty much all we really needed that a little bit more control on the piano with a compression, bringing it back a little dB. Vocal was just up half a decibel. Oddly enough, you get to this point, it does start to make a difference. Last thing is get this better strings saying really? And then we're gonna go through a stage that's going to probably drive you insane, which is where we're going to reference another mix also we've done here is get our balance and fix problems. We're then going to start listening to something else and seeing how we can really improve it. So vocal melody section, the violent Melody section is where all the strings in together, we eat, you'd our whole strings it before when we built it, think we're probably going to have to compress it to control it a little bit, even though we've done it all with midi. Just gedit altogether, the similar effect as before, just a couple of dB of compressions control it. And we're gonna use that as well as our gain control. When you use the platinum digital books want to keep it nice and clean. Again, auto gain off or a release his find the attack here can be quite quick. So we've got this, The Carter elements coming in and probably about three to one ratio and it's just all the thresh hold back. The makeup gain. I'm actually going to go the other way and went to take it down or three dB. Now as the strings are really a bed for the vote was to sit on, we're going to do something a little bit different here to get the strings out of the way, but keeps them present as well. So we're gonna go to the individual ones and balance them ever so slightly as well. We're going to bring the code beds down quite a bit further. It's 1.4 at the minute. I'm going to bring it all the way down to minus four. Fire in the middle, melody to be a little bit louder. So I'm actually just going to 0 that off. Coffee down. Summarize. We're going to have a look at using a Match EQ on the string bass. Now that I've got a bathroom, I liked a little bit more. You can hear the melodies just sitting in the background and the code has been dropped a few dB, they just give more of a bed for everything to sell. But they still get in the way quite a bit. So I'm going to try out the Match EQ is mono work, but it's a way that we can use the Match EQ that can be useful. What we want, we want our current, which is gonna be our strings. So we're gonna say the strings here. What we've done here, we've hit Learn, we've played the strings. It's given a capture of the strings. These are the main frequencies. This is where all the strings are sitting. Now if we look at our vocal, we know our vocal with Scott, like fundamentals right around 200. And we're details in this era that's battling with the strings quite a lot. So we want our reference. Now, what we can do, we're gonna get a side chain. You can go to audio. We're going to take one of the main vocal sections. Show me vocals only should be about right. We saw the vocals. Now we can record it from. Okay, so we've learned what we need from there. There is no current or reference. We're going to hit Match. And that's our EQ curve. And thinking like what the hell is that? Well, the first thing we need to do is address this top and tail. We definitely don't need that guy. Fade extremes. And then we can use these little sliders here and feed these right off. We know we want to work in this main section here, these little handles here, we've just got a way. Now we could boost like that, but we actually, we want to cut this and this should give us the space for the vocal to be in place with the strings. Just, snow would just claim the frequencies where the vocals play or strengths. But this obviously too much minus 30. We just need to do it by sort of maximum three or four dB just to get a nicer balance. So they're really fighting. Just balanced much better together. Now, for the most part, that is our problem fixing a mixing done. In the next stage we are going to be referencing. And I'm gonna show you some ways that we can use another track, listen to it, and reference that material to help improve our mixing. Really get it to that final stage. 27. Referencing : This have a look at this referencing thing that I mentioned. Now the first thing I'm going to suggest is if you're gonna go down this road and you can afford a plug-in. There is a particular plug-in I'm massively recommend just makes this a lot easier. It's called Magic AB, and I've got a really old version of it, way updated version of this now, but I'm still using this one basically, it's got tracks in it here, pre-loaded that I would like to reference to. I can choose to track a is my Track B is that track. I can match the overall level and set a loop so I can very easily change and compare them side-by-side. Switch between different tracks. You don't need it, but massively recommend that you use it loads as you go forward. Let's get rid of that for the minute. The way that we can do this otherwise is we're going to need a blank audio track, but let's put a new audio track in here, just going to stick it right at the top, right at the bottom, completely up to you for argument's sake, but now we'll stick up top. Let's just rename it rough. I've got a folder here. These are my two references that I use. These are taken from the CDS there in high-quality at 44.1. And we're going to take plastic world from pendulum. We're going to stick that up the top here. What we're gonna do is take a key chunk of that track that we want to listen to over and over and reference. What we can do is we will take the game down. I think it's about 12 dB for this. Usually to keep it in a similar vein, then very simply if you hold option and click so we can hear that just that truck. The same thing here. We can listen to our truck. We then hold Option and click solo. It was so they just this for us a bit wire, so it's just changed the level again, make it about minus nine. You're just going to a and B between them and what? You're not listening for the differences in the track, listening for the differences in the overall tone you've been listening to for differences in the truck, you're listening to it as a whole, like just the snare sounds a lot more in that track, has it got a lot more high-end? Know? What I'm hearing straightaway comparing these two is my tracks lacking a lot of high-end clarity of one K through 245 K, It's got a lot less clarity and punch in there. So I know that now it needs to start going through and adjusting things in my mix. I'm gonna give that extra punch and clarity through. And we'll do that with boosting EQs and maybe adjusting some levels. Now, this trucks got a massive kick and snare. Mine doesn't, but we're listening for that overall balance of the mix. My kicks a lot louder. There's a lot more low end the weight which you wouldn't expect, but something else that we can maybe balance out which might help us improve that high-end punch in that clarity. That's how that's coming through and that's what we're gonna be doing as we go through referencing tracks here. Now, another trick we can use to get an idea of what those areas are, and we'll do this now to see if I got this right in terms of that low end and the high-end clarity is used at Match EQ trick again, but this time we're just going to put it on the master bus and we get Match EQ and they got current, which is gonna be our truck. What we want to do is go through the biggest part of our track that we're gonna be referencing and trying to match. Then we're gonna do the same thing before the reference chain. Hit Learn there. Now we're going to have a match between the two. I can see straightaway I mentioned the high-end of one K through straightaway. It's telling me I need to boost that. Now the low-end can generally be ignored because it's going to be in a different key and things like that. So we could write down, bring it up like this, but something like that as an EQ curve is what I'm going to fall, but I'm gonna go to my individual channels to give it those kind of boost and adjustments. But you could cheat and just do this. That is actually really improve in my mix, isn't it? It's way over dance. Let's maybe dial it back. So it's just a few DB. We've now got that reference there that we know we've got that to work too. And that's the kind of thing we need to improve and attracts lots of high-end. And we've definitely got some stuff going on around between 1500 we don't need, and then a bit below 500 dots or 300 we don't need. But mainly this high-end really bring that brightness out that's going to help us fix on things. 28. Using Your Reference: Knowing what we know now, having used our reference, how to listen to it. And you start Match EQ to create an EQ curve based on our mics and a reference mix. We can now go back and look to really enhance everything to get to that final stage equally, we could just leave this Match EQ on the end, but let's get the mix as good as possible before we do tricks like that. Now, I would usually leave my reference mix in all the way through and keep referencing it. But I have to ensure it's not in the final project that you are able to download. So we're gonna be removing that now. But we've also got, but we've always got this Match EQ that we can just leave on that and I can just switch that on every now and then just to check that we're in the right ballpark, I can see visually the areas we need to improve. And obviously take note that we maybe need to adjust some of their low-end as well. Definitely bring that down a bit even though the frequency point isn't relevant. So on that note, one of the first things that we'll look at is the low-end. And what's more than likely is that my kick is gonna be a little bit louder than necessary. We're going to highlight the long section here, which is gonna look to balance a little bit like that. We put the break, the scope of a kickin, got Kick One and Two. More than likely going to be kicked one is going to be the issue. Could certainly be the combination of one and the break. We never addressed the break with EQ. So let's pop an EQ on and just have a look at what's going on with the kick. Kick one next to it. The break kicks just sort of in OneNote really below this, we are 8160 to 80 over here. So they're not conflicting with each other really, or anything like that. We can certainly make sure that we roll off this. Just isolate it a little bit. I think we can just take kick one down to probably minus six dB and make sure that kicks not getting lost, but just going to dial that back. Just a touch. Kyc student that's in prominent in the mix. We're still in a good place there. Now this new fancy way that I know of in logic to isolate, abandoned the whole mix. But something that you can do here if you're not sure what you need to maybe adjust in your mix. So let's have a look here. This 200 hertz bump, I'm not too fast, about 200 hertz bump here. This is probably going to be like our snare. We're going to bring that out a little bit more, is something that we need to look at is this 501 k region that it's taking out from his hair. So what we could do here is very simply just make this little filter like so. Now we can have a listen to just the area in the whole track. Now we can really hear what's in there. If we look on here, we've got I'm spikes coming up right up here. It's gonna be in the vocal more than likely. The piano. Now that we know that what's in the air, we can switch that off on the master and we can go and tackle those things in the mix themselves. So we know the piano is right in that region, so we can bring up the key and we actually already have a bit of a dip around here already. But we also know that we probably need to take out something around this region here. Address the piano a little bit in that area, we can just have a look and listen around here. That is likely going to be the similar to the band we've got here. Really prominent here, the base there. So we should go to the EQ on our base and just know that we need to dial it down a touch here as well. That frequency just control that. I think something else we can do this lots and lots of high-end been added here. And if we now continue to roll out some of the areas we've fixed, we can have a listen to what this is adding. Making a big difference to the vocals. Definitely have a look at the issue of the vocals. We've got a bit of a lift, but we should maybe quite a bit more dramatic like five K. Great people lifting like this. Great big three dB. Or I can see how we feel about that. I think that has improved as well. And the other place I'm breathing, noticing it is the drums. On the second issue here, we already have a big lift again. Do we dare push it a little bit further? Maybe days bringing other point in. Have a listen for the best, best section here. So this jumps out. That's quite nice. Lifting it around that sort of region would just give that another little pump, just a couple more dB. We've lifted up the whole vote with the cheap EQ and the thesis on doing the same job they were. So we just kind of quickly couldn't be ss threshold up to just like three dB, just on the side, not on the main vocal. Mean Buck was still seems alright. The sides and are sounding a bit better. I think as well. We can bring this slides down a couple of more dB. Just two more. As a result of the overall vocal can come back up half a dB on the bus. Lesson. Compressor vocal little bit more than we were before. That's saying quite nicely. Now, If lifted out with just trying to get this new balance, is now pause again a reference scan or to redo the Match EQ as well. And just keep rinsing and repeating until we really start building that up. So let's go over that whole process and do it again. 29. Matching EQ: All right, So I've just done the new Match EQ and we can see we're closest kind of a flat response everyone else, some of these are really specific part of the mix at quite a bit right here that can maybe go away and on the base side again, that's fine. We definitely need to adjust a little bit of the subs and the briefs on the actual base channel itself. At this point, I would actually just be looking to reduce the lower harmonics down. So what we'll do is we'll take the base channel. In this guy here. We're going to get the slave roughly on this lower end before we start schizo the cake gonna be around the 100, quite steep sleep and just dip it down by about three dB in increments of three dB versus logarithmically a good system to work in, in terms of loudness. Just shave off the absolute lowest as well. Looking at this ending around 30, we'll take this up to 27. Anything that we need. I should help us round that off just a little bit more. We've just taken out ourselves now we could go into the alchemy patch in the ESXi patch and do them that way. But in this case we're just going to work on the bus and just use the EQ for that purpose. Then the other thing with lift it up a bit of a piano in a nice place, we just focus in a nice place for them. If lifted up the drums in a nice place for them. I think we could make use of as well is the path of strings that's quite quiet sitting in the background. I think we can really lift up the high-end of it. Have it shine through quite a bit more. The moment is taking out lots here. We could actually roll it off a bit more here. I'm bringing some back in that way. Let's highlight the busy section. Back on that phone call. To use the automation just to revert back into that as well. I guess losing a bit of space. We usually automation lane here, just put it somewhere around here. Now we've lifted up all of the focus on kind of against TB key disabled. Really increase the release of the strengths. That high-end buck. Keep the two k taken away. These three here it just one dB of gain change. So everything's at minus three minutes, going to change it to minus two, just to help them lift up a little bit more without compressing everything else. Sounding pretty good. Try it with the Match EQ off again. I don't like the GB Q annual. Leave him there just to say with him for the time being. Overall in the mix, I'm going to bring up the kit. We've got minus 1.4 and just bring it all the way up to 0. It's purely high-end content. It's gonna help lift everything up a little bit more. Too much. In this section where the shaker comes through, it's just too much. In the other sections is quite nice. So we need to control just the high end on here. So way or a way that we can do that is with the multi-process. If we go into dynamics, we're going to grab them. Multiprocessor, multiprocessing, basically for compresses, we're gonna find the way that shaker is and just how it's controlled, just the area. I could go into each individual bit and do it with the different velocities. But we are going to control this with mixing. Let's say that the count we can solo the bands out in here as well. Mainly going to bring the threshold down like we would for anything else. Ratio hit. We want to get caught right. 3.2 on the ratio. All right, 3.6. Really controlling that shaken up, but it also catches the crash quite a lot. Say crushed to come through pretty nicely. Otherwise, just controlling for us. We could bring the overall level backup and compress it even harder. That's quite nice. Let's try that again. Control though. Cheeky know is brightening up too much longer, really neat that we're getting close to children. One of the last things we're gonna do here is just how a full listen through our track. Make sure we don't hear anything that's glaring and out of the way. We'll wait to the end here and just wrap this up to the end. Let's just play through and I'm gonna be listening for anything. I think my need adjusting mixed wise, but I think we're gonna be pretty much they're formatting it out, arrangement and then potentially mastering as well. Good. Okay. This Happy Days or they're not. I am pretty happy with that sounding good. What we need to look at, what we're really looking at now is I'm going to show you how to make up a nice arrangement section and that track what runs at four minutes, 30 seconds. If we wanted to make that a radio edit, we've got a solid minute out of that. I'll also show you how in the same session or make my radio edits and move things around. And then we'll look at getting a finished like June ready to be sent out and played out and essentially mastered. 30. Final Arrange: Alright, so this is where things are gonna get probably a little bit strange compared to what other people have maybe showing you or even what sort of process you thought I'd go through, what I'm actually going to do now, just hold Option and just do that mouse. So we can just have a really, really small compressed version of this. We're going to do Command a to select the entire track. I am going to drag off and make a copy of the whole thing. And we're gonna copy absolutely everything. So now I've got a second edit of the whole track with a push that alone, and we'll just start it there at two to five. So we've got the most break, but we're going to move all the automation with it. We've now got my original and they'll we've got any edit that I make. And the reason I do this all in one project, there's no mixing or anything needs to be done. We've just got the original bill as it was, mixed everything and he edits we make over here as our second project to go out. Now, the way that I arrange everything is I build a simple arrangement in logic. This tab just here, Let's show hide Global Tracks. Also tap G to bring it up in here we've got one called arrangement. We're going to add in some arrangement tabs. Each suddenly dropped one of these tabs in. It's going to link to the section of music below it. So for example, if we were to drag this to here, It's going to be the first eight bars and it's going to call itself intro. Look, I'm just going to go through the whole track and do that in different sections that I'm not that bothered about the names. You might want to name them out as exactly as they should be. What I do is just break them out into sensible sections of what they are. For the most part, we've written this song in 16. It's just with that little extra inch row. They're really, the interest is 16, but it's got to definitive sections. We'll split that up. You've seen now that it's just putting out showing over and over. Like I said, I'm not overly bothered by the names of them and the outro, we'll just run that all the way to there. So it captures the whole lot. Probably won't. If I have to move that around, we'll do a blank one just here. And then we're gonna do the same thing again. What this lets us do is quickly move things around in the project without having to copy and paste and figure out where everything's going to go. So for example, let's say I wanted this section here to play before this section. Well, I can literally just grab this, drag it over here, make sure it's in the right position and let it go. It will flip those around for me so I can now have it as if we start with a big resection. We go into the smallest section. I can have it back the way it was originally. If I were to try having this breakdown in the middle, I can hold option. I can drag it over and stick it in here. It's going to make a duplicate of that breakdown so we can have this section end. It gives us the breakdown again. We've just got lots of options for very quickly rearranging things and potentially breaking it down. Now, if we do them in smaller sections as well, we can also obviously do that. For example, we could stretch this, so it's now just gonna be this eight-bar section. And I could just move that part around. Instead. I could switch it. So maybe that goes as the end into the breakdown. What I would do is move this and the range this around to create any edits of tracks I might need to do, such as something like a radio edit. That's create a radio edit, you generally want to be within the 3.53 minute range. Now we know that the song finishes at about 4.5 for 40. So we've got a cup a little over a minute off and really condense that down to make it into say, a radio edit. So we'd look at the sections that we want to, we could remove to do that. Well, we can maybe do is takeaway the intro section for example, and just have it start like this. Probably remove these sections where it gradually builds up. Even though they work. We would put these vocals over in this section. And remove a good chunk of the track just to really condense it down and make sure we've got the key punches that are gonna roll in a radio mics. So let's do that. Remember any edits we make, it doesn't matter. We've still got our original over here on the left. So we're gonna patch all of the intro section. We're just going to select all of that right up to that point, we're going to erase. We don't even want you. Now, I'll track starts here. Long intro stuff. We don't want to delete the automation. We do want them to. Now we've still got to have a long intro. Is this just like a host 16 Bob buildup hasn't copied over for us though is the automation for the drums. We see that the star head now we can copy that over relatively easy. You can do is see that marketers are standpoint. Express T When you use the mock heat sources, select these drums out like so. Just don't reach out. And we can just drag them along, stick it back in the right point, like stick it back on the right point like so remember we've just delete eight bars. So for that fate of a star, we are going to purge this section here, go straight into the big reason that build up the buildup of the strings. What we definitely want to keep, the vocals and the crash so we can use the crashes, our line that goes boom right on that point there. So we can select all of those. And we're going to bring that over in-line with this. That's gonna keep our focus in time of the crash and everything else in time. We definitely want to move in the automation lanes we had. And now we want to purge this section out. We split this into 16's before we need to add another section in here. What you can do, you can break it down into four bars, eight bias small chunks wherever you need. But I'll show you is something that we can do anyway. Scissors tool works here anyway. So we can just slice there. That was hot tea again. Just drag it like that section highlighted. If we hit Delete, it's going to push the whole lot, tap it again. It snaps it together for us. Now. It got rid of that section. We've reduced our truck size down. Happy Days, right? Nice and easy to do as well. We'll do a similar thing with this section over here. We've got no vehicles in that it's not carrying the truck on. It's not super condensed version that we've got. We're going to keep the crash in like that signal point. That's the only thing to really move over and keep, do the same thing over here. So we're gonna go T and I just slice in there, double-tap to drag it along. We're going to purge this section here, so highlight it. Tap backspace again, purchases a whole lot for us to tap it again, boom, Johnson together. We've now got a much shorter, much more concise track we've trimmed. Well, 16 was trimmed. What, 24 bars? I think so far. We just check that everything flows nicely. There might be some little tweaks we have to do like automation and things might have shifted slightly or something might not be buying on point anymore because it's caught the audio, but for the most part, trimmed it down nice and easy. We've still got our original edit right here. This side the head isn't a mixing today. Adjustments really that needs to be maids. We've just managed to track down and have a radio. I didn't bill in the same session. I'm not gonna go ahead and finish this and make your radio at anything because I'm not releasing the song. This project is going up to you guys what to show you the theory and the practice. And I'll leave it in there as an example so you can dive in there and try it out yourselves. 31. Master & Export: Alright, in this phase we're gonna be kind of mastering the track. Really what I want you to be able to do is get attracts that sound really great for you to pop up in places like SoundCloud and audio Mac and things like that, you can get really great sounds out-of-stock logic. But there are other options out there, like isotopes. I was a nine something that I use massively. If I'm ever doing my own digital releases, I do use that pretty heavily, but to get something that's like SoundCloud ready and top quality demo level. We can do that in logic with a few tools. And what I'm gonna do is I'm going to aim this at getting something ready to go out on a digital streaming platform. So it's gonna be aimed at Spotify as guidelines, which was a good bet for things like SoundCloud and other services, youtube, things like that. They all sit in a very similar scope with Spotfire being the most clear that you can really follow as a guideline. However, if you're looking at your truck or released commercially, if you're working with a label, they'll probably handle mastering if you're looking to do it yourself. I really do advise sending it off to a mastering engineer. It's somebody else to listen through your music and listen objectively. You've spent lot of time working on it. All those little changes, things you've made, they build up over time and you don't hear them anymore. Someone else having a fresh list and they've got a good perspective on it. And hopefully it's what they do a lot of their time. In our case, the project itself, we're just going to work on the Stereo Out bus. Now, what we need to check is to make sure we've got plenty of headroom now guided this so that we've been using or gain staging. And we've always worked by reducing things away rather than adding all the time. So we should have plenty of headroom to work with this. Just check that out. We've taken everything offered stereo bus and just got a gain left on there for the time being unless muted, We just want to see in BCS section what we're picking up. Cool. So plane through that loudest point, we've got peaks minus 3.1 dB of headroom, with our average being somewhere between 69 are absolutely allowed his peak weather away from clippings, we've got plenty of room to work with even at the loudest point there, which is great. There's a couple of plug-ins we are going to want to have on our chain. And gain is gonna be one of them. And it's not for me to adjust the gain or the balance is purely there is that monitor checkers we go and do the rest of our mixing. Now in logic, we also wanted to go into metering. And we're going to grab this meso. We're going to want a limit. The limit is going to be the last effect in our chain before we go to the gain and the loudness. Because the gain in the loudness or their measurements and checks at the end of our effects on the adaptive them. So we shouldn't need the DC offset, but we will want to have true peak detection switched on. We're going to add right at the top of the chain queue, below it, compress it, then just in-between that compressor and the limiter, we're also going to make use of the Match EQ. Alright, so the EQ first off, then do something that might be unexpected. Remember right at the start I did a top and tail where I just cut everything off. So while I was working, I wasn't worrying about rogue, low end and high end, where we're actually going to do a similar thing here as well. We're going to stop this off straightaway. We're gonna leave it at 20 K and it's gonna be a nice harsh sleep. It's going to be one of the first things that we applied and we're doing the same thing here on the low-end. Going to go to a 24 dB sleep there as well and leave it down at 20 hertz. The reason we're doing this, we're gonna go to a low-quality format and we're gonna go to wealth. But when we go to a website, it's going to become a lower-quality format. Things like noise get added right up in the high-end. There's lots of the distortion that's added now that's all going to add up into effectively your headroom and effectively the overall loudness measurement. We actually want to make sure there's nothing above or below our 20 hertz and 20 kilohertz range. We just want to cut those off nice and quickly at that point, my reference track that I use actually has a slope, more, something like this, where it's actually rolling off a lot of the high end. I find that it's okay to leave it all there and I liked to have that extra bit of shine. It's interesting to know that that is the case. In some cases, we can do any kind of broad stroke EQ here we think we might need as well. And that's where we're just going to play the whole track just on a loop like this and have a listen through and make any subtle EQ adjustments. I hid myself a limit when doing mastering EQ of 1.5 dB in any kind of gain and any kind of subtraction around 3D bakes, we want to be really subtle house you keep the Q high, so we've got nice and broad curves, if we do anything at all. We've just made a really subtle lift here and I just found this nice space. About what, 1430 hertz. It just needed a nice lift. Little bit boxy, just very gentle curve out. That is all I feel we need to touch right there. Now compression wise, we are going to probably compress obviously slightly. What's important now we're going to get the loudness meter up. Loves me to just hit. We've got a target of minus 14 left. So that's gonna be a target aim for Spotify or not integrated loss counters. We can just bring this slider up here to minus 14. I'm going to hit Start and that wouldn't be play. It's gonna work out our integrated loves, integrated laughs. Sharp here over on the right-hand side under the eye. I've just started that in by air, thereby having a really fast attack and release and then just effectively moving the attack so I can hear the jump start getting through. The kick was getting completely suppressed and then it started to get through nicely done. A similar thing with the release. You can hear the compression hold or the jumps and that's the main thing I wanted to glue together, just that makeup gain. They're actually download it back, just the tiniest amount left to release an auto as well. So it will fluctuate around this for eight milliseconds. That's not gonna be hard and fast. I've used the studio effect purely because I like using the Studio FET a lot. You get a result. You're after we went the other compressors, but during the same dialing it in. Completely fine. Game fucking up. Now, Everything's still ask for the Match EQ, what I'm gonna do, instead of bringing the track back in, I'm gonna use the plug-in these before, but you know the process now to bring in the track or you can have saved your Match EQ profile. In fact, what I will do in this project for you, I will save you a Match EQ profile. So you've got it usable for other projects. Based off of the pendulum track here. Let's learn our reference. What we'll do this reference for the EQ will be saved here within this project. We'll just get rid of magic. Let's get reference. Like before. Go to the EQ curve HIP Match. We've got our nice matching curve there. It looks like it was right about taking up some of those areas. But let's start at much more fade extremes. We definitely don't need those big low-end adjustments. That's for sure, probably right the way up to 200 hertz range is actually okay for failure of quite gently. Similarly, the high-end, because that I'd dial this back from him. So this is five dB of change across here. Wouldn't be at least half that. Somewhere around there. Really subtle square root, I'm pretty damn close with this mix, which is nice to sit. We're going to smooth off to the smoothing slider at the bottom here is going to stop that being such like a bumpy looking EQ. And it's going to smooth it out a bit more. Is without nice for them. That's almost the last thing. On the limiter we're going to streaming platform. What's recommended by Spotify is to have at least one dB of headroom. Seems crazy, but we're going to CD, but do something like nought, nought 0.3 for a streaming platform or it's gonna be conferred. They like minus No.1 on the ceiling. You're going to take that gain away. If true, peak detection on, look ahead at 50 milliseconds should be okay. Or we can apply the optimal 20 milliseconds. We're going to bring up our loudness meter. And see that we're an integrated than a minute of minus 17.5. We want to try and get that so that our busiest point is maybe a little bit above minus 14 and we sort of averaging minus 14. And let's reset that. We're going to push the gain back. I didn't know him 0.5 in gain overall. That's very similar to some limiters you see like you pull the threshold down. Basically we gain it up into there and push it into the ceiling. That is how this particular limit works. We're going to reset our integrated again and test it over that section. A little bit hot enough. So we're probably gonna take it down to 8.5. That's gonna be our happy medium there. Researcher is great. Again. We can see it's pushed beyond 14th of June, this breakdown section. We might find we get that full decibel back. What average is student B where we want it to be, even though we've pushed that section to be a little bit louder. There we go. We're back we're back in that ballpark is an average. It's actually below this isn't an average that we're after. Let's just push it a little bit more and there's louder sections. So we've got section, this turned out quite a bit. We've, we've gained back half a dB over time here. I would go through and monitor the whole song through that process, aiming to get our average integrate at that minus 14 kind of area over a quiet period will start to get it back a little bit. So if it does some points ever so slightly push beyond 14, that's not a huge issue if you've got a quiet section coming up because it's an average over the length of the song. And that's how a Spotify is going to look at it as well. Though she's got a full-on aggressive track right the way through and then you try and really limit that you're going to be pushing all the time. But if you've got nice ebbs and flows and your tracks, you can get some really get some really loud moments out of it. Once we've got all of that setup and ready to go, we're obviously looking at bouncing our, our tracks. You might have gone through the process and you've got multiple versions like me. Well, simply going to use the markers at the top to measure out where we want to attract go and how are we going to bounce it out? Switch off gains, switch off loudness definitely don't need to be that command and B. And we're going to bounce out two versions. We're gonna do a PCM, MP3, PCM. We're gonna keep it in a WAV or AIFF depends how you decide to work. I've always worked in WAF, so I stick with that 24 bits. You've got your dynamic range, even though you're limiting the trach give the best quality. Finally, plus B cat. In my case, I worked in 44.14. 4444100 for your sample rate. If you worked in 96 chaos, something like that for some reason, then you need to put it in that file type interleaved. This means it's going to embed the left and right channel into a single Wi-Fi rather than independent left and right. At this stage, we would potentially apply a dithering as well. Dithering algorithms sounds slightly different depending on your track. I personally like the noise shaping options. Choose it, play it, maybe do all three and listen back to decide which one's your favorite. Just have a quick look at your slide endpoints, make sure they're correct. You see the endpoint is where I did the loop too, which is why we just set that loop right off the bat. You've got to balance down options, Realtime and offline. If you've got lots of sample libraries with round robin real-time might be better for you offline is generally going to be quicker. Include the audio tail, which means you've got a delay or reverb or something at the last note, it's going to just keep processing until it's got that complete thing dump and we don't need it to normalize MP3. We want it to be 320 k bps. In both instances, you can use a variable bit rate if you would like, but if you go into software and services and things like that, we're just using this to test out what an MP3 is going to perform for us. We're going to use the best encoding option. We're going to fill the frequencies below ten hertz. So we talked about those extra frequencies beyond the spectrum. An option to do that here, but we put the EQ in any way just to be sure. And again, check your start and endpoints. Realtime offline normalization needs to be off. You can add your ID3 tags here if you're going to upload the MP3 first, a download or something like that. You can add all of the information in here. So I can go to artists, for example. We could go on this that's gonna be embedded in that file. And we're going to hit, Okay, it's about stem up. I'll just hit them on the desktop for the time being. Let those balances commence. As we can see, it stops at my marker there and now converted to IP3. And that guys is, it tests your balances out. What I did is just literally go to the file press space bar. It's going to bring it up here for listened, very important on the MP3. You want to make sure there's no weird distortion or clinics clipping and things happening. That's why we've got that decimal of headroom and that's why we do an MP3 just to test it, you get an idea of what's going to happen to the WAF. So much clearer. The very last thing, if you're providing an MP3 PR for people to download and maybe play out. One thing that I would adjust is on your limiter, instead of having the ceiling minus one dB eight bring it around, nought 0.3, you're going to get that extra bit of headroom. And you might go to push the gain a little bit harder. It's going to a club system as well. It using someone's gonna play it out or maybe you're going to play it out yourself and test the tuned out. You can go a little bit harder than that. Minus 14 loves music for a club system. Cd and Joe was gonna be compressed quite a bit harder. You'll definitely notice that Beat Port downloads. So you want to push that a little bit hard. I have a slightly more compressed sound, but really a and B it, and make sure you're not taking all the life out of your music apart from those changes guys, that pretty much wraps us up and you've got your finished trucks exported that I hope you enjoy deep diving into this project here. Wrap up on the final video.