Transcripts
1. Course Intro: be making basis. Hey, was going on. I'm Joseph Evans. Also go by. Every J just wanted to welcome you to this course on. Mixing is very important for me that you get the training that you need to make sure that your beats are on point. Because I really, for a long time struggle with mixing my beats so much so that I had to go to a professional recording school full sail to learn some tips. And I've been, you know, getting tips from other producers and different things to this point now that I'm confident enough that my music is on point and I wanted to put all of that information in one course how to make sure beast in light of protein. All right, so this course is broken down into a couple of different sections. The first section is the pre mixing section where we're gonna be dealing with how to make sure that your beat is on point so that, you know, is going to be easier to mix it. You know, a lot of times ah, lot of producers. When it first, starting with mixing, they fail to realize that the sound selection that you choose or the drum selections that you shoes and even organizational aspects of things can affect how easy it is to mix your music. Okay, so that's what we're gonna be covered in the first section. The next section is actually getting into level Lean and queuing is where we're gonna balance out everything and we're gonna talk about frequencies and how to properly e que your tracks. We have several different types of EQ Ewing's attractive and additives e Q and will be going over that another section we're going covering is compression. OK, I'm not going to just be saying, you know, covering basics on it. I'm gonna be showing you what a compression is, what it does. What are the different settings? How to manipulate the settings of a compressor? Um, several different other compression techniques, like parallel compression side chaining, all those different type of you know, things that you need to make sure that your music sounds boosted to make sure certain instruments poke out on the track. The next section After that, we're gonna be basically covering, you know, some tips and tricks. Okay, How to add reverb how to add you know, pan your music automation, and then finally gonna, like, go ahead and bouncing down your track, listening to it on different speakers, different things like that, just to really make sure it's polished. Okay? And And lastly, I'm gonna give you a few tips on how that you can master your your music, Okay? For fairly, fairly low amount or master right there in the program. Okay, well, this is mainly dealing with the mix. Okay, So the main thing I want you to understand is that is going to take time to get your mix is better. You know, this is something I do every day. I have to mix my music every day to even get better, even myself. You know, I'm saying so you have to put in the work. It's not like a something that you can, you know, push a complete a button or two and all setting how this great mixer there's some type of template that you use, and also you got great mixes. The truth of the matter is that the reason why templates don't necessarily work is because every track is different and I would go into this later on when it comes to frequencies. All different sounds have different types of frequencies and everything. That's why you know, it's important to understand the fundamentals of mixing into in order to make you know, good mixes. But without further do man, let's go ahead and jump in the course. I want you to know that you can also hit me up if you have questions. This is more so, like of a beginner to intermediate level course. So there might be certain things that we don't cover. If there is something that you would like to know or, you know further, we could be expound on, Feel free to hit me up. I might even, you know, do another lecture to to explain it and help beef the course up even more. So, yeah, let's go in and jump into it. One last thing, though. There's a project that you're gonna have to some project value going to download. So I have a beat that you're gonna see be mixing in the course download. Make sure you download that beat and follow the instructions. I'm gonna pretty much be walking you through step by step. Some things you can do to the beat and there's gonna be a contest actually see to see who mixes to beat the best. And I'm looking forward to hearing your results on that as well. Anyway, let's go ahead and jump right into the course. Thanks for watching piece.
2. Introduction to Module 4: be making basis. Hey, what's going on? Welcome to this fourth module of this logic protein mixing course where we're gonna be covering some tips and tricks and basically, how to go ahead and finish your track. Some of the things we're going to be covering, how to add reverb, How Japan to make sure you have, you know, basic rate that stereo feel or that depth to your music that you're gonna need also been covering automation briefly and how to really get that polish sound. Okay, even how to bring the the overall volume of your track up. So go ahead and jump right in. I'm looking forward to see you in the lectures to come peace.
3. Adding Depth to Your Mix (part 1): be making basis. All right, so, so far, we've talked about leveling, basically making sure we get the right levels between the different instrument tracks we talked about e queuing, and we've also covered compression. Now, what I want to talk about is actually adding more space in the track. Okay? And you could do this or more depth in the track. You could do this several different ways. One of the ways to do this is to panning. Okay? And what's that's going to do is instead of having all the studio going through pretty much the center where you pan to the left or right, certain instrument sounds it crace more of a wider and more of a space. Your feel. And so what I'm gonna do is I'm gonna just go ahead to do some light panning on on some of these tracks to kind of show you are demonstrate. You know how that's going to affect the mix. So what? That first thing you course will do is listen to the mix. All right, so somebody sounds air. Obviously competing and panning is really gonna just help that all together. What? I could what? You could do is kind of delete, not delete, but mute out somebody sounds and is listed in an Adam here, you know, one by one. Uh uh uh, no one thing to keep in mind that it, you know, when you're you're panning your instruments left to right. It's important to have those instruments in mono a lot of times because in stereo is going to give one type of field and in mono is going to give another models pretty much gonna concentrate that signal into one path. Okay, compared to having it going left and right, um, you have it is going down one down the middle, and you can take it over to the left or right properly. So some of these instruments you wanna have been stereo? It kind of gives a better feel. And some of these instruments would have a modeling you That's really just going through the mix and this playing them individually and see him, or what do I want to be kind of like wider in both of the stereo track or both of the track ? Both signals left and right. And what? Don't want to kind of be panted left right No, you know, and I'm sorry. You know, this is more so not something I could just say. All right, Well, what you want to do is turn this over to left this amount or turn this over to the right. This amount, you kind of have to play with it. And what you're listening for is what's going to create the better, um, the better room for each frequency. Okay, cause you gotta think Kate takes us back to the aspect that all these different instruments have different frequencies and you don't want them to compete along the spectrum. This even matters with going left or right on the, you know, in your mix. So what I do is I play around with certain off of no interest to have higher frequencies or lower frequencies and see how know how they can balance out together. I think this instrument sound kind of has, like, a higher pitch, you know? I'm saying, um, frequency and it kind of custody mixed. Better as I move it over here to the left and move some of these other sounds to the rights , the life races, this sound it kind of has more of a lower or middle mid range sound. And I don't want this competing with this sounds. So say if we put it to the same, you know, on the same side you see how that's kind of competing. But if I take it over here to the to the right, you have this one to the left. They sound a little bit more clear simply because this frequency this this higher pitch frequency that does also have a certain level of mids. It's not competing with this frequency that has more missing a little bit of highs. You get him saying so you want to balance these things out. You see how that doesn't? This will distract. Was would compete if I had this panned over here to the left. All right, So these are just some techniques that you want to put into motion because it's really gonna help your track. Another thing you could do is course with the actual, like your percussion instruments, like high hats and stuff like that. So let's check that out as well. No. All right. At, as you can see, here it did. It did open up the track a little bit and it made it made some of the instruments work a little bit better together. Now, of course, this is not something that could be done necessarily. Okay? And I'm not going to say 100% but necessarily, you know, in a matter of 10 minutes or whatever, you might want to sit there and really listen to it and then make adjustments come back to the track later. Different things like that. But for teaching purposes, I really wanted to kind of see more of a live demonstration rather than tell you Oh, this pushing into the you know, the signal to the left or to the right, it's gonna add more stereo room, and then you don't understand why you push it to the left of the right. And the answer is because of the different frequencies of the tracks you want to create more room. Um, and that's gonna create, you know, saying make the tracks pop out a little better. So what you would want to do is go ahead and work on this track as I'm working on it, of course, and be making some of the changes here. You don't have to put the same settings. But you can. Of course. You know, I'm saying this is getting you to others, understand? Ho aspect of how to mix the beats on. And as you course practice, you gotta practice. Got to be doing these things every day, mixing bees every day to get better. But yeah, this is what's gonna create stereo mawr, every a wide field to your music. So thanks for washing. And I'll see you the next election.
4. Adding Depth to Your Mix (part 2): be making basis. All right, So the next thing we're going to talk about is how to properly add reverb or delay to your tracks, and then this, again is going to also help give your track more depth. Um, a lot of times, what you want to think about is what instruments should I be adding reverb to Should you everywhere to everything or not. I'm gonna go ahead and answer that in this lecture and more. First of all, the kick drum should never have reverb on it more times than not never. Okay, let's let's do with that. First of all, Ah, lot of times the base shouldn't have reverb. And this one particularly does because it's kind of has a is mixed with a synth sound or whatever, but it should never be. You know, whole riel have a whole lot of reverb on a bass instrument because you want to use to kind of come to dry. That way cuts through the mixed better, but sometimes you do want to add revert to, say, like your snare, maybe someone percussion instruments or some of your other melody instruments. And that course less is always more so less is more in that you don't want to add reverb, all of the different, every track and less is more. You don't want to add too much reverb But let's start off with snare So of course, you can add reverb to like your audio effects section you within your audio Sfax section. Okay, But again, when we comes to your mixing, you want to make sure that your computer or processing power is high on your computer. So a lot of the best way to do this is to add it to the sins, do our auxiliary track. All right, now, just like you see right here is how the cappella compression is pushing the signal that has a comm pressure on it to your difference Tracks is the same type of thought process when it comes to Revert. Now we have these already toe have reverb on here, but it would be the same type of way if you wanted to create a new track with reverb, go to sins, go the bus, and then go to the next available bus. But since we already have some reverb tracks created here, I'm gonna go with this large hall reverb. And again it's the same process. If I was a create this track on a new track, say it's going to do it for demonstration purposes, come to bus um, coming to available one. It would be coming in here and then I would just come over here to the audio effects and added here, So let's say we want to do Is platinum Revert? Okay, if I did that and all I had to do is push this up and I can put as much or as less river because I want. So let's check this out and see how it affects the mix. And he always wanted is also tried different things here. Like I'm trying different types of rivers and trying to river that has like is more of a smaller reverb. I'm surrounded river. This more of allowed larger sound. Try different re verbs and give you different effects based on the type of river. Be happier. I'm to go with this hall effect. And remember what I told you Any time you add or take away from from the mix you want to, it's gonna affect all the rest of mix. So Sometimes you have to come through here and re adjust the volume level of certain instruments. All right, As you can see here, I kind of was adjusting, making slight adjustments to the track. And it was actually kind of helping the track to sound a little bit more clear and everything like that. You could hear all the instruments you can also kind of still here, that Sterritt that that river coming through here. And it kind of just added a little bit to the track. And you don't have to add Revert to anything, but it can sometimes effect and help the track. So, for instance, let's see if we added it to a particular instrument. I'm gonna take these solos often in solo. This san already has reversed. So why would I am Or to it? It could kind of muddy it up again. That kind of has river. But let's check it out on the sea. Uh, like what? It would sound like. Um, actually put this right here. You see how that kind of muddies up the mix? Because it already has revert. You don't really need it. - I kind of actually helped it a little bit. So those are just some things to keep in mind. Not everything needs reverb. You only adding it to a sound if you kind of want to make it, you know, make the track sound a little bit more deep or whatever. Also, some people have listened to some tracks. They put reverb even on a on a high hat. Um, and that could actually make it sound a little bit cool. - But you want to balance things out because, like France's, if you have, if you want to have most of the reverb coming from like you want to do it like this, basically, if most of the reverse coming from the instruments, you don't wanna have a lot of reverb on the ah, on the drum sounds vice versa. If you have a lot of drum river coming to the different drum sounds you don't want, I also have a bunch of river coming through. You know some of your melody instruments because it will conflict and and also you want is cooler. Sometimes when you have an instrument that doesn't come in like is consistent, maybe it comes in every once a while. And that reverb and kind of add a spaces effect. So, for instance, say like a crash or say like a sound, it might come and go Boom, boom, boom like here and there, Here, every once the well and then that echo What kind of create a, you know, a sound or a field to the track again. Everything is based on your personal preference, and it's also based on how you want to track the sound. So feel free to add it or not. But this try and see if it kind of helps to track a little bit. So thanks for washing. We're going to kind of continue to move on here. In this mixing, I'm gonna share a few more tips of tricks, and they will be done.
5. Automation: be making basis. All right, So in this lecture, where we're gonna be doing is talking about automation. Automation is going to help you control certain effects, added certain things to the track and make it actually trigger at a certain point. And do whatever you wanted to do until you want it to stop. Okay? It's pretty cool. Um, I recommend doing again things sparingly or keeping it simple. But if you would like to add automation to your track, this is how you do it. Now the first thing you have to do is select a on your keyboard. So push a the letter, a keyboard or the second wayto be able to access the automation features is to go over here to this button right here. All right. When that pulls up, you can come over here, stroll to any track on your in your mix, and you could automate it like let's let's say, for instance, you want to automate the volume of, say, this lead track right here, lemon push. Solo it out. So you hear it. All right, let's say that you want that lead track to kind of like gradually come into this next section. So what we would do if we want to do that, is we would come over here, make sure this is selected that Reedus selected. Okay? And you're gonna select volume right here. All right? All you're gonna do is go ahead and click on this line. You can either use the ah, play head to kind of point at a specific point within the measure. Um, And they you just click there until you see that little ball, okay? And that's what space is going to create a point. And you could just create different points and pull this upper down to affect the volume. So say, if you want to Sorry. Look, I want this thing coming in. I wanted just to be, like, signing right here and then gradually come up, okay? And I wanted to come all the way to the 33rd measure and in I wanted to dip back down at the 37th measure ending at the 45th measure. You know, come, you know, come back up, then It would sound something like this, and you get the picture. Now I'm going to Of course, you know, undo this by pushing commands thee. That's not a real life example of what you would do. But this is just giving you a picture of what you can do. You can do the same thing. Say what, Pan. So say if I want to take, go to my high hats and say, All right, you know what I like? How they're kind of like panda were to the left some, but I want them at a certain point to go to the left and to the right. So what you would do is select pan. Okay, So save was on volume. Go over and select pan, make sure readers selected and do the same thing with your point system Here, you're gonna click certain points within here, and you could always move. These points around are just, um And you could say, All right, cool is going to start off here regular, and it is going to go down to the right side, and then it's gonna go up to the left side, and then it's going to go back to his original place, all right? And it's you could just give a certain effect. Okay, Now, if you want to, um you can also add any other effect that's actually within logic. Okay. And this is how you would do it. So it's, for instance, say, if you want to add, like a philanderer, okay, to, say one of the synths. Okay, let's let's say right here, right? You're gonna do that through the sins. And so what you would do is you would create a sinned. Okay? And as you can see, there's no philanderer here. So you would go to bus nine, the open, next open bus select that is gonna create a ah, you know, a new track here, a new bus track or auxiliary track, and in what you're gonna do is come down to your effects. Go to modulation, Flander. And you could just select a, uh you know, Fletcher, I'm gonna put this easy Flags on it. And basically what's gonna happen is if you pull this up here and then come over here to Maine, you're gonna notice that there is something right here to CIS and three now, of course, if you come out here, you want to make sure you name this because, you know, you might get confused, so I'm gonna place a Flander. Okay. And, um, I don't know what the heck this is. Take that off, but okay, we have this flag here. And so what you would do is go over here to Maine and now you see Sin three. Flander Goto. Absolute. And you saw how that line popped up. So now what we can do is that I don't move this play head to where I'm beginning. Just get a point of reference and then I'm sorry. Look, I want this Philander to start coming in from right here all the way to here, and it was gonna flanges all the way, and it is gonna go back to normal. So let's say we want to do it like that. Just give some time off, affecting the song so less check it out now. But you get the point. This pretty much can you pretty much affect different things within your track and to give you a, you know, a blueprint of when you should use this. Okay. Certain things that should not be automated or your kick you treat your kick drum your snare. Okay. Um I wouldn't put any crazy effects on most of these things. Maybe you could put some certain crazy effects on like your actual instrument tracks or do some panning like, which is high hats again. I don't really mess with it too much. I kind of keep everything simple, but you could do it If you want to take it to the next level and, you know, take it, take it there. But say, if you wanted also do some e queuing like some type of ah filter, if you will. What you can also do is this is just another way to do it. You can create goto option and create new auxiliary shack and you'll see that pop up right here. You go to where it says input and then you're going to select the next available bus. Actually, I'm sorry you have selected right here and go to the next available bus, which would be bustin and then so we select e que. And I'm gonna go to use somebody's presets here. We'll go to Q and here, and I'm just going to say I se a phone filter, right? And of course you want to turn it up and name it. I'm also say phone e que right? Just to give certain things certain effects. So I'm gonna come back over here to this and if I wanted to, You know, um, you can even adjust certain things here, you know, saying this is a lot you can do with this, but let's got to keep things simple, man. I don't want to get too complicated on it, but let's keep saying something simple. Let's come back over here to the same track right here. So instead of, you know, going to your Flander, let's go to Maine, and then you're gonna find, um I'm sorry, the next thing you had to do, you have to make sure that on any of these tracks that you go ahead and select the sins over here. So, for instance, if I wanted to put that on here, I would have to go to this bus and then go down to the phone. Hugh, make sure that selected because it is not. Then it's not gonna You're not gonna see a be selected. Turn that up or you could or could be down. However you want to do it and then you're gonna come over here and in selecting, Go from the main and come down to phony que instead Don't absolute. So now, on this particular track, if I click right here, I'm gonna say All right. Cool. I want this phone e que To gradually come in when this witness Ah, this synth sound comes in here and it's gonna give it a cool sound. Listen, let's check it out. I'm gonna turn that from layers off turn Just danced on. So you really here to effect? But you pretty much get the basic idea here again. I really I'm from the the whole concept of keeping things simple, so I would recommend not doing too much crazy automation on the track. But, you know, with this option here, you could do a lot of crazy cool effects. And so I just wanted to let you know that this is here for you. If you wanted to, you could do automation on the pan. You could do automation, bringing in certain instruments of certain points or bringing those instruments, outfitting them out. You can add a certain effects do sins, Okay. And, um, that I just wanted to let you more Marshall know that that option is there for you. If for whatever reason you don't want those those effects on their that automation to be there, you could just take it back like this. You could even turn it all the way down like that. And now it's this or even easier. You just turned completely off. Okay? But that's how you automate the tracks. That's something that you also add into your arsenal of mixing. I would say that that should be added in last, but I just wanted to go over that real quick with you. Thanks. See in the next lecture.
6. Creating A One Off: be making basis. The next thing I want to talk about is creating what's called a one off. Now, one off basically just means that you're going to go ahead and bounce down your mix and basically listen to it to make sure that everything is right. So we're gonna be doing is bouncing down the mix and then you you basically will go take it out of the burning on a CD, take it out to your car, listening to it there, see if something is like completely needs to be turned up or completely decent. He turned down this minor things that you feel like. Or maybe there's too much reverb, you know that you didn't catch while you listen to it on your speakers. Gonna listen to it on different speakers but just basically how you bounce down your mix In a logic, the first thing you want to do is make sure that nothing is coming over a negative 60. Be okay, because you want to leave some head room here. So why I do it, I will go and, you know, select a little loop. Maybe on one of the prevalent parts of the song maybe your hook and pushed places to make sure that you're you're not peeking. Okay. And so far we see that we're not peeking here and again. If you wanted to add this level leveller right here, you just go over here to the master of the order master Output and scroll down to me during and you go to a level meter. That's where that's that. Okay, But actually, after you finished doing that, um, you want to make sure that everything's that, that nothing's muted. That's that should be. You know, that should not be muted. Okay, um, you just want to make sure everything is on point, okay? And then you just go over here to foul, go to bounce and go to a project or selection. Okay? Give it a couple of seconds. Is gonna come right up, depend on what you else you have running on your computer, and then you're gonna be able to look at certain options. Now, if you're gonna be bounced in the MP three high, the best quality for every three is 3 20 So select that and you use the best encoding right here. And you could say filter free Christie's below 10 hertz, if you want to, or you can just click that now, you don't necessarily have to worry about this right here. For right now, this is basically where you can, you know, put in metadata. So basically, like when you put your track in your car and your name will pop up and you can put your name and stuff like that, but all you have to do it. If you wanted to put that in there, it's select that. Push this right here. Name the track. You could put your information or whatever, however you want to in all these different places. And then when you pull it up in iTunes or whatever, that's what's gonna happen. So but you this bounce two this MP three down, so put down. Okay? And where is gonna what's next? Is that happen? Is is gonna ask where you want to put this track? Okay. I always bounced down everything to the desktop. Why? Because it's super simple and easy to find it. Sometimes you put it in certain photos. That could be difficult, but I put, you know, put a simple place to find it. Bounce it down, let it do its thing, and then after bounces down, you pretty much could take that track. You can again. You could put it on to a hard drive thumb drive. You can upload your iTunes account. You can put it on your phone. You can put it on a you know, a CD, and you want your basically now want to listen to it on different speakers. Okay, now I recommend getting out a little app.
7. Mastering Tips: be making basis. All right, so basically, what we're gonna be doing in this lecture is going through the process of bouncing down our , um, our tracking toe a final way form, and then go ahead and looking at some options that we can use to basically boost the overall volume. Okay, Are our master it if you will. So what we'll have to do is we've already by now ran is one off, basically where we've gone ahead and went to through the process of bouncing down our track , listening to it on different speakers, making some adjustments to it. So now we would do is just go ahead and bounce it down a final time. So what I would do is go Sue Foul Bounce project or select our section. Select the top one, wave 24 and we're gonna goto 48 24 48. Okay. And we push. Okay, now, I actually have already done this, but I'm gonna going to show you. You know how this would work? Um, you can see here this justice, pre master and wave fouls or a I f f fouls or the same fouls it is basically are compressed for the most part, fouls are they're fouls and have most of the data intact compared to an MP three and units push bounce. Now, while that's going on, I'm gonna go ahead and show you there are a couple different options here. The first option is online mastering option, which is ran by a company called Lander. Okay, I don't know if you ever heard of Lander, but have a great option for doing this. So you pushing Go search L. A. In the are. And they're gonna be the first thing that pops up Lander. Instant online, mastering software. So you clicking here, you're going to sign up for an account. It's pretty straightforward. I already have. Ah, have account having account or whatever. And so you go here and it go to my account, and it's gonna take you to your library. Okay? Once you go to your library, you pretty much can master anything. Okay? And as you can see already have my track here. Justice Pre Master. Now, if you wanted to do this from scratch, you just push this and look for the tractor chur wanting a master. Okay? Click on that is gonna load and everything like that. Now it's now that this is actually pre mastered, all I have to do is click on it and well, say create Master. Now, as you can see you, we have three different options here. We could do a low master and, as you see, instantly boost the volume. Okay? And so basically, you put save and it was going to save it, and you can download it. Okay. They have different options. Of course. Um, we could upgraded. And I always say that the pricing is fairly reasonable if you look at it for the grand scheme of things. For instance, say, if you wanted to go ahead and you wanted to do a whole batch of your tracks, Okay, you don't have to have this selected every month, but for $40 a month, you could go ahead and master way fouls an MP three fouls and everything. Ah, little tip here. Say, if you're selling your your beats online on a beat site, you only have to master the MP three because that's the main thing that they're going to be wanting to hear when they go to your site. But they're gonna be wanting to record on. Ah, high quality way found. You don't want to have your way foul are already mastered because then when they go to record their vocals over it, it's gonna be, like, distorted. If the matter the way foul is already, you know, mastered, leave it at least if it's mastered too high at a too high volume. So you very well could go with this lower. Ah, this lower option right here to recommend option in this, you know, do unlimited high quality MP threes. $14 a month is not that much. Okay, so that's one option. And the next option would be to actually purchase program called isotope. Okay, It's a little bit of an investment. Um, but they have, like, depending where you get it. You can get, like, you know, 24 months of financing available. Okay? Certain places we can get it, You know, saying and make monthly payments. Um, this right here it comes in this bundle. $14 a month means different ways around it, or you get it directly from the site, usually from the site. You're gonna have to actually pay. You know, a good amount for it. Um, so say if we got a shot, we know for the products. Uh, isotope is around $250. I believe you see, everything is pretty much there may be bam. Well, actually, it right here. This is not, um, effortlessly getting nature makes its radio extremely ready. All right, There you go. 120. $29. It's not that bad. This would be good, right here. Ozone elements. All right. And I'm sure you kind of like the process that I usually use. And what you would do is you come here and create a new track, or you can save it as a new a completely new version, say, five. And in what you would do is come over here and delete everything, because what we're gonna do is this. Bring that one way, Fallahian. All right, get rid all these tracks too, and then you would just go to import so foul import audio foul and find a way. Found justice pre you bastar way foul matters lots of different options with the isotope. Okay, but I use a simple option here and what you do toe to get that plug in its go down here. The audio units isotope go to seven. Okay, You have different presets that you could do. I always use the preset. I'm by no means trying to act like I'm a mastering engineer. I don't know how to do it, but I do know that there's some process that worked fairly well for me. Usually, I've I've used, um this precept its depth and clarity. But recently I found it. This going over here to this Greg Talebi. Mastering presets has worked fairly well for me. I just go to this quick limiting Splichal master, maximize er and and take the ceiling down to negative one. And you could just leave it at pumping or put click on clipping. And that usually does the trick and boost boost the signal good enough for me. All right. So, as you can see, the signals boosted fairly Well, it's not distorted, but you have something that you could put online and really with sound pretty professional . So the next thing to do our final step would be to go ahead and bounces down again. But this time we're gonna bounce it down a little different so we'll just do a wet of MP three foul. Make sure that the 3 20 your selected and I would go ahead and select this option, right? I d three tags or this is for something called metadata. So metadata is the information that you would see in your track whenever you played or iTunes or in your your stereo or your car Click here. You could write justice. You could put your production name produced by for me. I'm gonna, you know, put my production company Kaya beats put our out. You know, for album. Maybe I could put your email. Whatever. You know, you put whatever information do you want here, push. Okay. And then that information is gonna be located within your your foul here. And you could name it like justice, beat or justice instrument instrumental and save it to your desktop once it's finished bouncing down. That's it. That's the whole process. And you could upload this to a beat site. You upload this to a soundcloud player, you upload this to a YouTube channel. Um, and people could very well download it and use your music. And, um, you know, you could charge them. So I just wanted to thank you again for watching this video and watching this course. Um, make sure that you download all the project fouls, and I want to hear your mixes, too. All right, so thanks so much. I'll see you the next lecture.
8. Thank You: be making basis. Hey, what's going on? Thanks so much for watching this course and taking the information. I'm looking forward to hearing your success, testimonials and your success stories. Go ahead and leave a review on the course, and if you have any questions again, make sure you ask peace.
Joseph Evans, Make Better Music Now: Follow Me
