Transcripts
1. Intro: Hello, my name is Andrew Stuart and welcome to mixed breakdowns. Today we're gonna be
dealing with one of my favorite genres, hiphop. It's a song called
New drip freestyle. I'm an artist called GNRH. Not going, gonna be going
through the whole thing from Lord in to clean up all
the way to master it. Let's go.
2. Clean Up Session Org Rough Mix: Okay, So we have a
threshold loaded in. So the first thing
we have to do is oriented in such a way that makes sense when
we're going to mix. Let's start with
the drums first, and then we move on to
the music of any vocals. We put a kick to it. Smear crap. Hi-hats. Percussion could
stay right there. That's it for the
drums that we have on lead synth of oxygen. Let's put the put
underneath the high hats. We also have audio tag. Then we have our vocal lead. And I'll add lips. Great. So now let's hear
what's going on in this track. Usually, when we load
in, faders will be at 0. This doesn't really help us out. The best bet is always to
pull everything back to 0 and then start to get an idea of what signature
track look far apart. Loop that has everything going on right about here
seems to be it. Let me just remove that
and I'm just going to bring things in
other please back. Getting a rough mix average of what's going on in the truck. It's not much just
like 12 trucks. So it's not very
heavy lifting today because I wanted to
hear what the tax on. So I'm just gonna take off the loop and go back to the
start rather only tagged in, just hear what that sounds like. Good. So I'm going to put
back on my loop and continue with job seekers
who don't have a trust me, of women I've done
in the summer. I was taking an old days. Nobody forgiving, forbidding,
not already aided AAC. I'm sorry if I had been living with junk at it, you
couldn't make it. Right. Let me shut that. I'd
take us into the basement. Good. So this is just getting a good average or what's
going on in the session. Because the rest of it is
pretty much just loops. Now what we can do
is add some sort of audit or session,
let's say reinject. Because let me kick it
kinda melt together. Let me put that on its own bus. Best name. Then we're gonna have the
snare club hi-hats put. All go into the
drum bus. On ten. We're gonna make sure nine, which is AKI cannot year two, it also goes to our drum bus. Let me remain this kick slash name, this drums. I'm going to create track. Drop down in place. For these three tracks here. Gonna put them out. Only 11. Name this music. I'm also going to
select my drums with my music buses and put them
out on a separate bus. Let's call that
the instrumental. Create these tracks, put them in our session
where they need to be. Great. And then we
have focal tracks. Let's put those on a bus. Full calls. Create that track
where it needs to be. Great. So we've pretty
much arrange our mixer. We need it to be,
for the most part. Just to reiterate kick. And a2, it goes to this
kicking me through it. But then we have all of that. We either kicking me through
it plus the snare clap at high as going to or drum bus that we have our music
going to our music bus, which is lead since fox
chant and the yellow tag. They both, both the music and the drums go to
our instrumental bus. Then we have our vocal bus. No, fair game. Every doubt I'm already
seeing you could trust me, but your money trust me, but job seekers, but
don't ever trust. Great. Now we have to
set up effect channels. Let's select everything. I usually just like to set up 60 effects channels just in
case I might use them all. But obviously if it's better, it's just set them up and
have them there just in case. Understands. Plus one, plus two, plus three, plus four, plus 56. On my buses. I also set them up. I can route one bus to another
if ingested case again, plus one, plus two. Because say if I want to have
a bit of reverb and delay, easiest way to do
it just to make sure that it couldn't be sent. Embassies three plus 456. Knowing most of
my effect returns will need to be stereo track. And Mr. in all of these stereo
one time, Let's name them. These first two usually I might want to different reverbs. I'm just going to
name one reverb one. Both events have active
is going to name him. Second one reverb to automatically saying when I see this and I see
I want the mean, this one, delay one. It means the rest of them, 34234 respectively.
One more thing. This drug didn't really
particularly need it. But if you look through the
different vocal tracks, depending on how you may
have gotten my session, you may need to clean out, sit and things in it like
say headphone bleed, different hesitation, like somebody may
have been a mistake and difficult to clean out. You might need to do all that. This track here
and pretty clean. There's no headphone bleed or I can particularly
see headphone video. Notice in-between the
different phrases where you'd be able to see
this on sort of waveform. The only other up journal
or charge you would have to make is how you want to
approach the vocals. The, If you find
too many breaths or the breaths are to load or if you were to
take out the breaths, sometimes I have to leave any
birth because it helps with the feeling of the soul and
the feeling of the delivery, as opposed to
something that's just straight and sterile
and clean and it doesn't suddenly person
is breathing at all. In this case, I chose
to live in the breadth, so clean up on this track
was pretty negligible. Didn't really have to do
much, if anything at all. When you going through it. Again, take the time and listen to tracks to make a decision. Do I need to do the
deep breaths help? Do they do not do not help. Is there anything
that was missing in anything that doesn't seem like it's supposed to be there. Let's edit it out right away. Now. My track is ready to be mixed because I
have my whole session setup. No, just choosing plugins, choosing how you
want it to sound, and then making those
decisions as you mix. And I'll show you what we
did in the next lesson.
3. Instrumental Walkthrough: All right, so I'll set
backup the same loop. We can go through and
mix them step-by-step. Let's look at the KYC first. Without any processing,
this was all kick. Then we added trans InDesign with old tested boost up
the attack on the kick. An EQ. Just boosting everything, trying to be nice and punchy. This is what we have now. Then on you can see why we have all of that
top end Monday kick as well. Just try to make sure that it
punches up over the tweet. On the Ethernet, we have
transient designer EQ, as well as some saturation. Before either it
sounds like this. Then the processing. One thing you may notice
is when I play it back, where the kick an E2 it hits, we have a dip in
the eighth width. Because in this
version of logic, the plug-in delay compensation
is kind of broken. So when you add a
compressor that uses a side chain to duck
the base so that they could have
free ravens points. Add some sort of weird delay to the whole section so it
doesn't run properly. Delays all of a sudden
became all fuel. Everything becomes
also just avoid it. I just drew in the reduction in the base when the kick hits so that
you will see it. Every time that
the kick hits it. Just immediately,
just a duct of maybe like three to five dB. When that kick hits. Initially, it just pulls out just this theory about
this five dB here. That would be kicked the hip, I've mentally base comes in. We can see it move in. Check on E3 bus, we have a vitamin which gives
it a bit of a low-end push. Then we have EQ again, just to boost some frequencies
and make sure everything, the a2, it and the kick
gels nicely together. So we've been hearing, ever
felt nobody hearing the quiz. This is a quick reminder. We have our snare, that we have a better EQ. Our best just to give
it that low-end thumb. Without I'm Mrs width now. Then we have a clap. Clap readily same our base. Our base, just to kind of
give us a bit of low-end. We spread it out
using the assembled. You delete one side
by 125 samples. That we arise in one speaker
faster than the other, kind of gives you the image that the image has
been spread out. It was still kinda leave them
a bit too much to the left. So I use this image at the kind of bring the image
back to where it needs to be. Then we have this EQ just
taken away, some of that. Well, for me this
was a bit too nasty. Just take away some of that. Making sure it was
president where it was, where it needs to be. Without. We just saw this even With part of the whole thing. Lovely. Hi-hats, basic bandpass EQ. Then we have to add
some life to it. We have this Pac-Man kind of moves it around
the stereo field. Instead of just being
pan to the right of it. We have it move in
both left and right. Just something to add interest. Then lastly, we have this percussion basic EQ on that. Altogether, we have our drums firm onto own music. We have all lead that. We just took our someone in
your family frequencies, did a sort of a
band-pass filter on it. And after that, we
added some compression. Just to kinda bring
things together. I'm picking it up. Let me solo. It sounds like this. I'm not a whole
lot of difference. But remember that it
fits into the cell. That is too simple
things of the fox chant, which is just pigeon,
which OBC key Q, and then the DLL tag, which we will go ahead
and look at the top. There's a basic EQ on that. Nothing too special.
The DLL target minutes go back to the start
of this session. You can just check that out. Lovely. And after that there was a sound effect that I put in
that goes with the vocals, which is basically an AR-15. That sounds like this. I also have a panning we
read from left to right. From right to left. Again, just a basic
EQ taken out some of the low-end fits my t inside of the cell. Somehow. Instrumental. Sounds like this. I boosted in music
and everything about 1.5 dB. Music Bus. Nobody music again
to add interest. I did some stuff
with this plugin. Common stock with larger call
the Remix, remix FX points. I did sit in chops, I did sit, repeats, I did sit and stuff,
so let me just play it back so you can
hear what's going on. I also did some drops in the, in the instrumental where
you can see them here, this jump here, this
speed feed here, and this last shot here. Let's listen back to what
I said or sound like. The kind of weird
stuttering effect. You hear me, I was coming
off of the remix FX. There we have it again. Kinda helps repeat the bat clap. And then we have this
speed feed here, which gives a second tip step. And the last thing is there
will be out this jump here. So just again, add an
interest at the depth that we go from something that wasn't burst. Let me put you on the
music bus. There we go. Now in the next part, we're going to go over
what we've done with the vocals to have that
in sync with the beat, that's going to be put up them
flow well with the music.
4. Vocal Walkthrough: Alright, now let's
go over the vocals. With the full calls. We have. Just as a quick thing
on the ad lives, I have stuffed panned
left to right. The phrases would be less
than phases will be right. Also, I copied out certain phrases to act
as background vocals. So that's these
traps you see here. Because it can't just chop off the vocal
and just use it as a background vocal
additional worker because it would
just be doubling up on what you already have. I pitched one up and
I pitched one down. Just to prove true
from his thought, first we have the lead vocals. I'm only lead vocals. The processing is
pretty much standard. Eq. Taking our someone that
low-end DSA stuff, but a bit too simple
and fast compressor just to take out some of those transients that we'll just a 2-bit to
spiky just again, even though the vocal
a bit slower compress suggested for more of the sound. That's kind of smooth
things over even more. With things down like this, which are money,
trust me, but job seekers, but don't
have a trust me, a women I've done
in the summer when an omnibus taking old
maintain or party forgiven. Without processing in
which your money trust me, but you'll seek us, but
don't ever trust me. A women I've done in
the summer when it was taken or maintain or party
forgiven is forbidden. Not already AT can't
see I'm sorry. If you'd be willing to
look at the level meter and realize how it's fitting. The dynamic range has
been kind of controlled now for o lived track, but you're mostly seeing processing what your money, just me, but you'll seek us but don't ever trust me a women, I'm done in a summer
morning, I'm novice. Taken own name, say no party forgiven for it was forbidden, not already AT can't say I'm
sorry for having live in a young had a tube for
an American group. Then we have high fox. We just processed the
Foucault the same. And then to fix you Vocal
up, I use AUTO-TUNE. Just use the transpose
function only. Your money, just
me, but you'll see because we don't
have a trust me, a women I've done in the summer and parent that to the left, the high one and then below Vox, pan that to the right. Your money just me, but you'll seek is we
don't have a trust me, a women I've done in the summer. Just so you can hear
that in isolation. The treatment of women. Lovely altogether of vocal
song like see what your money, just me but your secrets,
but don't have a trust me, a women I've done in
the summer morning, I'm nervous taking maintain
or body for given, forbidding them after that is
just really vocal channel. We have EQ. We have a compressor just to kind of gel all
the workers together. We have a multiband compressor, mainly acting as a DSA. We have a bit of inflation. Sudden fluids, which
kind of adds body to the signal without
adding too much level. This is without Steve,
what your money, trust me, but you'll see because we don't
have a trust me, a women, I'm done in a self worth. Your money. Trust
me, but you'll see because we don't have
a trust me, of women, I'm done in a summer morning
and I was taking old maintain or party for something
heavy with saturation, we start to hit your
grit than it adds. So after that isn't merely
all about the effects. We have two different reverbs. Stuff is running to hear what your money just because we don't
have a trust me, a women I've done in the summer. I was taking old name, say
nobody forgiven is forbidding, not already AT can't see. I'm sorry if I had
been living in a junk at acute for an American
every shot that I take your cylinder
army reverbs. Pretty nice space,
warm and wide. That we have a concert hall
which is a bit bigger. In terms of sound. So they just playing
with the two different spaces you wanted to vote with. Somebody wanted to sound a bit in a bit smaller
of a smaller space, or you want something to kind of wring out into a bigger space. What your money, trust
me, but you'll seek us. We don't have a trust me
and women I've done in the summer when it was
taken all maintained. Or you can combine the two species to get a
different zone completely. So it really depends on
what you wanted to do. That we have echo boy, running through all the layers. That's running through
all reverb as well. That's why he made sure to have everything kind of linked. So we can get all different
sorts of effects. When there's just triggered off, it looks like this
is triggered off. On this focus at certain points. Funders, if walkabout
and certain points, see what your money,
trust me, but you'll seek us, but
don't ever trust me. A women I've done in the
summer morning up numbers taken all maintain no party forgiving if it was forbidden, not already AT can't see I'm
sorry for having live in the junk had acute for an
American. I take your cylinder. That's happening here
it is down here. What does this send to? Where we have some delay throws or revealed
through brainless. You get a spray of the ego. You get to give me that. If you get a spray of the ego, has a nice reverb throw on it. One more time, dealing
Nika brainless. You get to spread the ego. He got to give me a we have on our delete two, we have another echo boy image. Just to kind of spread that out as much as possible
with the echo. If I'm correct,
that comes in here. Flows instilling, get back out. The next my name, bamboos
ain't been aimed. Yochai Rama wave
they still a wet. Nobody asked me to sound better. Flows, they stay and get
back out and it's filling. Next My name is rooms ain't been a Yochai robbed my
wave, they spin a wet. Nobody asked me
in a total my pen and add some interests at
that point they miss Song. Again, another echo boy,
carpet declared member. Well send linked
to these last two. I may have just set them
up just for having them and decided if I
wanted to ascend the sudden something
in agency settings. Then lastly, we
have what we'd mix, essentially what
we're mixing through. Mixing them feel tip or trypsin, which is from your AD, the empirical lives fought. So SR is a pretty cool tip sim that kind of gives you
a really nice sound. Digital literacy. I
force it to take it off of this entire mix. I'll take it off for
me to kinda whoops, a little bit better. Joe's backing this thing would be allowed back in. This thing would be allow me there's a notice, a
marked improvement, but a newsvendor between off and on other plays back
and you'll be able to hear exactly when we're talking about Joe's backing this
thing with DLR? I thought I was finished. I came with a stick in a
plaintiff to handle my genocide. Be not attach up in
Canada digitally busy, not given no flux in a minute. I got a bit like a kind of world whenever I'm in and I'm
already GAP that was close, they'll get no come on.
Identifying promise it. So we can notice a marked
improvement when it's on. It kinda gets
buddy, I drew life, pushes everything
followed and gives us the sound we wouldn't necessarily
looking for in a mix. Once we have everything
clean backhaul, we wanted to let me
just play it back, just fold, but we're
happy with it. We're happy with our mix. Then we return to
the mastering stage. Joe's backing, this thing would be I thought I was finished. I came with a stick
in the plaintiffs. They handled my dentist. I did not touch up in cat in a digitally busy now given
no flux in a minute, I got a bit like our world whenever I'm
in it I'm already GAP. That was his age
epithelial mucosal get no. Come on identifying
promising for us before getting there every doubt I'm already sitting here. You could just be what
your money just read what you'll seek us, but
don't ever trust me. A women I've done in the
summer when it was taken on a channel body forgiven for it was forbidden, not
already hated. Kelsey, I'm sorry
for having limited younger it a shot
that I take this in. Summary, we can see where
the cuts in the BTE, different drops kind of makes sense in the context
of the whole. Even this tip stopping
me at these images count on me to lead the way words into syllables
and go to finally, we're still on a
minimum, has got my back and on this last Katia,
what was happening? I ran my wave. They still ain't. Nobody has to be in a tone of my pen and
make it bleed a mask. If you'll remember,
there was a lot to beat after the rapids over. So I just cut that down. So windy wrap stuffs, the beat stuffs, I surprise, kind of a casualty back and
missing the last facts. So we have a nice
short consistent, and it isn't just
continue playing out. The length of the
song is pretty much a one minute and 20 seconds. Once we're happy with our
mix, everything has gelatin. Everything sounds
like all you want to go on to the mastering stage.
5. Mastering: No. Firstly, I don't like to master within
my mix sessions, I consider them too complicated, separate process as you should. Just to start out, we should go to File
Bounce project or section having our mix selected. File Bounce project
or section a 24-bit, we file off our mics mix. Let's replace what's
already there. Here's where we open
and save a new session. Neurologic session. Let's call it c,
except mastering. Already have my session here. Once you save it. Once you save your session, once you bunch
instruction out into the same project file and
you save your session, new mastering session
project file inside of that folder,
you already have. It will always
reference the balance, whatever bounds you did in this session, in
this new session. So if you were to
update the mix, just go back over to
your mastering session, would be the updated mixed, you know, we cannot. So let's see what
this sounds like. Joe's back in this
thing would be I thought I was finished. I came with a stick in a
plaintiff to handle my dentist. I did not touch the busy now
given no flux in a minute, I got a lovely. First thing we can do. Mastering EQ. In this, adding a little
bit of bump here, brighten them a bit. And just a little bit
on low-end body here. Touches on not much effect, a Db, Db here, a little bit off
of three dB here. Nothing drastic. I got to see like I'm kind
of world whenever my minutes I'm already GAP that was
closer. Come on. Identity. After that, we have our
EQ or dangerous backs. B Q Master, Master EQ, because there's a
mixing Q version. This is just a nice little, and I'm also a bit
of more top-N. Back in this thing
would be allow sharing these if any
thought I was finished, I came with it sticking up plaintiffs to
handle my business. I've been out of
touch. Digit the busy now given no flux
in a minute, a bit. Yes, I know I'm clipping here. What I can do is bring back
down the volume of this. Avoid that. Let's bring it down just
to be safe. Six dB. In a world whenever
I'm in and I'm already GP that was close. They'll get no come
on identifying Momma said no one sitting. You could just be what your money just read
what you'll see is this is without any
processing, job seekers, we don't have a
trust me, a women I've been in the morning and I was going to take it with
that was taken on a day. Nobody forgiven him who was
forbidden, not already. It can't see I'm sorry if I haven't already started
to sound better. After that, we have
our shadow hills compressor had been limited young adult you'll
want to make it every shot that I take this into the basement mask only and morphing faces
only had done that. The brain is going
to spread the ego. You get to give me a visa. They make us count on me to lead the way at his words
into syllables. I don't know the final listed on a minimum, but I was finished. I came with a stick into
plaintiffs to handle my benefit. I didn't either
touch up in Canada. This is broken up
into two sides. The optical, any discrete, the optical side, you
have two comparisons. We can N1. We have the optical, sorry, that's not going
to ask maybe one dB. For the most discreet side, just knocking off
one dB for the most. Just to kind of gel
everything together in a mix. Something digitally busy now
given no flux in a minute, I gotta be like I'm
kind of world whenever my mean and I'm already
GAP that was okay. So next we have
another compressor, the SSL compressive us and
knock off a couple more dBs. Joe's backing this thing would be I thought I was finished. I came with this thinking a
plaintiff to handle them. If I didn't add a
touch up in Canada digitally busy now given
no flux in a minute, I got to see like our world
whenever we're knocking off that we have the clarifier EQ just
to add some brightness. Lift the veil off of the song. Well, whenever my mean
and I'm already GAP, that was the stage epithelium.
The closer again, no. Come on identifying promising for us without getting
them every doubt. I'm already sitting.
You could just be what your money,
just job seekers. We don't ever trust me, a women are none in the summer when it was taken or maintain or party forgiven him
who was forbidden, not already David Keirsey, I'm sorry for having live in young kids and you want to
make it be something that I take in here that bright
Mozilla considerably. Again, when you're mixing on mastery gets a gamma inches of it gives them
that they are miles. In terms especially with
master him more like a gamma inches,
centimeters, millimeters. Sometimes you might say, okay, maybe that's too much, maybe that's too little. Let's dial it back
a little bit less. David followed a little bit. Okay. Is that enough?
So it's really trying to make decisions
as best as possible. That's called Indian
market faces. Do you get to spread the ego? Getting, give me
a Bs immediately. The way worse than this
actually feels better. After that we have some imaging. This is where we
affect the wideness of the stereo image
of the whole mix. I particularly like
the modern width on this ozone advanced image. Whereas in the syllabus,
dose was finished. I came with this thinking or plaintiffs to handle my benefit. I do not attach up in
Canada digitally busy, does it based on frequency. So the higher frequencies I tend to spread them
out a bit wider. Lower frequencies I
tend to keep them more mono so that we get
continued to get that punch. Let's say, for example, these higher frequencies
pretty much being spread out, very left, very right. Mid-range being spread
as being spread as well, but not as much as
the upper ranges. Don't have to trust me. The limits. Not so much at all. I mean, I've taken all
maintain Nobody forgiven for being lowered and being almost pulled it back
to mono forbidding? Not already David Keirsey, I'm sorry for having limited. We can see it via
this line here. When a stereo, the line will be left and right or it will be spirals and we'll do all
sorts of things like that. But then when it is mono, it'll just be a straight
line up and down. Give me a bee's demigods, count on me to lead
the way words into syllables after that so we
could get some loudness back. We have okay,
clipper from Kazaa, Arago Kaiser, I'm sorry. The final resting on a minimum has got my back and
they put your name on. This is just a clip any peaks
that might be going on. So that would be weird
to get stuff louder. When we clip and the peaks. When you say, I'm okay. Since we added distortion
or clipping the peak, just like you would
do if you were to drive something very loud, but in a pleasing way. So that when we ratio limiter, all I'm not dealing
with those peaks or limited already delivered
the crypt peaks, so we can get them
went on to be a Getty, went to load with our master. Once we clip the peaks
a little bit before, I'm not typing a piece by much, maybe one to two dB. That's it. They put your name on
a bullet or a minute. I said it's subliminal. Kill us. Ya know, how grew up around criminals now you've
been running the wolves, surviving fascism,
Liverpool, I fit flows. They still get back
on the spilling next to my name and booms
ain't been a GHI Rama wave. They spent a while.
Nobody asked me to the inner corner my
pen and make a bleed or mascot, the casualty. This week we're getting
about 2.3 dB of lipid. That would be mainly on
these peaks up here. But the body of the
sun is left untouched. We met them and get
that distortion. Or it's not gonna sound
like distortion and lease. That. We have our limits. We have to choose what later and say How
much still limited by together loud enough. But also sounding good.
Dré Major
