Transcripts
1. Welcome: Welcome to the mixing and mastering course in low GQ Pro using stock plug-ins, all you need to follow along as a working mic, studio quality headphones or monitors and a Logic Pro digital audio workstation. In this course, we're going to learn how to take your mixes from sounding like VCE role that blesses to sounding lag, this role, the Bless. You also have a 30-day money-back guarantee just in case you don't like the course. But I'm hiring bus in short, after you go through the content in the course, you will be confident to mix your music and other people's music. So if you read it to improve your mixes today, we'll see you in the course.
2. What You Going To Learn: Welcome to the course, a quick summary on what you go into there. It is simpler than you think. So you're going to learn is simplified approach to mixing audio. You're going to learn how to create great mixes using only logic stock plug-ins. In my opinion, logic has the best stock plug-in collection. And I'm going to show you a few techniques to speed up your workflow. You also going to learn how to master tools like EQ, compresses, reverb delay, and already queued. And lastly, you're going to learn how to master your music for digital release to make things easy for you to follow along, I will start with showing you setting up your project for success, mixing your keychain base for heavy but clear low end, we'll be using techniques like site chaining, saturation, all that good stuff. And we're going to go to the mixing drum section. We'll be focusing on mixing drums and percussion. And then we're going to process our keyboard cells, your synthesisers and pads, and we move on to creating clear and present of vocal tracks. The only thing I'm asking from your ease and keep practicing what I'm showing you, as this quote says, the key to success, ease, action, and the essential and actually is perseverance. So please be patient with yourself practice where I show you here and you will soon reach your desired skill level. So without wasting any more of your time, Let's get to work.
3. Routing, Creating Send Tracks: Welcome back. In this lecture, we're going to start creating sand slash ox tracks, okay? And I will also be showing you how to route tricks. So let's go ahead and view our mixture. Before we do that, let's look last. Ok. Snoop that allows, which is the loudest part of the grid. Okay, Command Save to save your progress. So now it's time to go straight to the mixture using Command 2. Okay? And that's your mixture. Boom. As you can see over here, everything is still color-coded. Dark color. That's your drums. And these keywords over here, you have your vocal tracks. That's your drum bus, that's you keep a bus. That's your vocal bus. Okay, so now it's time to create San tricks. We're going to need these later, but I want to make sure that we help them set already. Okay, the first way to create some tricks, you go straight to options over here, create new auxiliary channel strip. That is the best option. My favorite is simply going to the sand. All right, it's sense. Just select the ambitions. Now. Hit Send. Select an empty bus, let's say bus. Oh, great. Automatically it creates an empty track. Okay, so plus four, we're going to rename it to reverb. Okay? So whenever you go to send it bus, now you can see that bus for is assigned as input to the reverb ox track. We're going to create another abstract. Let's remove this one. We can remove this end by saying no set on this truck. Hit Send again. Plus five empty bus. By selecting the empty bus, it automatically creates an ox track. Boom, right, got another one. Let's use this one off again. No set. And that will be the delay. It's a slow delay, which is a half delay, right? And let's create another centric using the first option I showed you, create new auxiliary track. Boom. You got an empty track over there. We're going to say delay. Let's make it a fast delay, which is a delay. Great. And that's the first option, okay? As you can see, by default, it's set to input one. All right? I'm pretty sure input one is occupied right now. So let's look an empty buses input. We're going to select bus six as input to this one. So whenever we go to send to any Trek, Bus 6 will be the coated delay, plus five will be the half delay. And a bus full will be the rap. Get let's color code these. Slip the first truck, go to the last one, hold Shift. Left-click, right-click. Assign channels, ship, color. Care which color do you prefer for the certain SRX? Let's select strong yellow, right? I like that. Great stuff. As you can see, nothing is going on over the year. If we want to send a signal to one of those tracks, we just go to sense. You can see away a b is a says that's your OD effects and that's the output again. We just go to Audio Effects, sorry. We just go to sense buses. Let's say I want to add reverb to this trip. We're going to hit Send to revamp. Listen to it. As you can see, nothing is going on here. We have a permit to over year and up. No signal, yes. Right. Let's use this truck as an example. Send it, send to revamp, right? As you can see, nothing is going on over here. We're going to use this perimeter, this tiny knob over here to send a signal. Let's push it up. As you can see now it's picking up signals. But you don't hear any web because it's just an empty AUX track. We have an additive effect yet we have to add a reverb to this AUX track so that when we send signal to this AUX track, we revamp signal, okay? But we will get to that later in the mix. And that is how you route tracks in Logic Pro. Don't forget to control, save your progress. And the next lecture, we're going to start doing the real work which is balancing, leveling and pending so that we have a clear mix. And then we'll move on to adding cool effects to make a viz, a punchy present and consistent mix. Okay, and that's it for this one. See you in the next lecture.
4. Levels & Panning: Welcome back. In this lecture we're going to start painting and adjusting levels. Okay, Why are we doing this before adding EQ's? Because we want to make it easy to listen to the mix without adding anything, okay, so that one we start applying. If we are improving the mix, we note trying to control volume using plugins. We are enhancing the mix, okay, right now we're going to focus on adjusting the levels, panning, making sure the mix sounds decent without any, if it's okay. So let's go ahead and select from the beginning to the n. So what I'm gonna do, I'm going to hit Command 2 for the mixin it play. And I just, while we're listening to the song, Let's play down the key boots. This is probably the places they never stop. Your social prestige day that she would show 19 baggies. And then angle I gave the Baghdad is a test for Marlboro, is I charge a fee for it is relatively rare disease the alleles are the bag is. This entrepreneur graduate is. I challenge you to body. Says. Okay, real quick, let's go back to the edit window. Okay, I just want to make one temperature Smith on this main hook to be the first right before the backing vocals. Okay. Just for control, I want to kick to be the first check. All my drums care the snake is fine over there. I want to change the sub base color. And you will see why later. I want, I want to make it the same color is my drums. Right? Let's go back to the mixer truck. Continue making adjustments. So we're panning just to fill up the stereo field so that the mix doesn't sound good center. Um, it's interesting to the listener. Okay, so let's play again. Another thing we can do is we have different bus, Carlos. Okay. Let's make the buses make them read all of them. Okay, let's make them red so that we know these tricks. Red. O bus. Now we're going to make it red. Okay, so that we don't accidentally adjusted levels on the bass tracks again. Come on to show the mixer and let's mix it out as plan. Rather than blesses me now, right ways that if it's this one, right, but don't feel, don't fill us this one. Rather than blesses. Rested. Command Save to save your progress. I get the data from my brow is having, if we find Sarah, Sarah, I just get everyone to push this to the right. Open. Then blending a little bit. The push it to the left a little bit. Values like 0, 0, 0, 0 is in. To see me. I start with the foundation. For example, this is a pop Pysch, R&B hip hop track. So the kick and the bass is the heart of the song, not forgetting the vocals again. So what are we going to do? We're going to step with the processing of the Keq and base, making sure they work well together. And then we'll work our way up from there. Okay, so in the next lecture we're going to start applying techniques like saturation to your key can be said chaining those so that they work well together. And that's it for this lecture. Don't forget to save. I will see you in the next lecture.
5. Kick & Bass Mix - EQ, Saturation: Welcome back. In this lecture we're going to start processing the low end, which is the base section of the song. Okay, so let's remove the mixer, look for the loudest part in the stress. Such as the look. Great. Now we have the base and kick, right? Cool. Let's open the mixer command to max it out. Right? Oh, main focus now is the kick and the base one. Right? Before we blend the two, Let's start with the kick. Okay, so what I'm going to do, I'm going to throw in an EQ so that we can find the sweet spot of that kick posted so that it shines. And then we can go to the next step. Let's play. Alright, that frequency is more in sync with the song key first. And that's where the sweet spot is. Okay, so we're going to use these pyruvates is over yet ten down that boost. This one can be messy because we using our mouse. So we're going to turn down this DB. Let's do something like three dB. Let's Play. All right, Without the boost, switch it off. Switching the post. Alright? And that is 54 heads. Okay, we're going to go straight to the base. So in an EU OF a stowaway is to hit the EQ tab. As you can see, every thread has that one you just hit and the channel EQ pops up. Okay? So over here, we're going to dip that 54 heads, which is DB, narrow band. Care two fingers on the trip paired, scroll up, push up and down. Good. Just the band. All right. Like That. Sounds good. Alright, great stuff. So let me do a quick intro to the EQ. So the whole purpose of the EQ is to cut and post frequencies. All right, Cool. So basically from the left-hand side, these low frequencies up to two hundred, two hundred and fifty, that's your low frequencies, low mid frequencies. That's your bass sounds. That's the low end of your voice. And from 250 to six K upwards, That's your vocals, your tomes, all the mid-range sounds. The top end, that's where your shop as is your high hits are over year. Okay, so by turning this shelf down, chopping off the top, top, top end of the trip by posting it, highlighting it, increasing the volume to add brightness gate depending on the situation. Hold Option double-click to set default. Okay? Great overview. You have your bell options. These you can use to boost a specific frequency or cut a specific frequency or get you going to use two fingers and you tread paired or the Scroll button on your mouse to adjust the amount of frequencies, which is adjusting the Q, the amount of frequencies affected by this cut or post. Alright, cool. These are your bad options. Switch it off, switch it on and switch it off, switch it on, switch it off, so it should own. And that's your shelf. You can see the shelf just cuts everything from the point you selected gear. So if our select to k, It cuts or boost everything from 2k, the bell nudge is focused on the specific frequency or selected frequencies, okay, from the left and right, like I said, this is the low-frequency. So over here you can see that's your low cut, which is a high pass filter. High pass filter simply means we are letting go of the higher frequencies they can pass, which is they can play through the speakers. And we're chopping off the low end, okay, by switching it on, as you can see over here, these are cut two. So we can cut from the left-hand side to remove the low end I call. Let's listen to this sound. Right? Switch it off again. Now, let's hear the low pass to remember the highpass wood chopping off from the left-hand side, which is cutting at the low end and letting the high frequencies pass and the low pass, we are cutting the top end and letting the low frequencies pass through care from the right side. As you can see, the icon also shows that left-click to enable it. And that's your low pass tool. Okay, let's do this play. And that is yellow bus. As you can see, over year, you have your frequency analyzer, which is what I recommend. If you're new to mixing. It shows you where the dominant frequencies are. Again, but our prefer you trust your ear, okay? Use this as a secondary confirmation OF secondary tool. For example, let's play again. So looking at it, it seems like from 500 upwards these nothing on but check this out. Let's chop off the low end. Let's play. Is definitely something going on there, okay? So use your ears more, but use the frequency analyzer to assist, especially if you're new to mixing. So this is where you switch it off. This is where as such on the analyzer, great year you can find precedes. You can play around with key to press his horns or is mustering all that good stuff. Okay, great. All right, and that is how you use the EQ again. So for every plugin and we insert in the mix, I will break it down how it works. Alright, so that you can be able to apply it to achieve whatever result you going for. Who show the reason we posted this frequency was to highlight that the shine of the kick, because the kick is the hut of these songs, especially in this type of January. Okay. And then we went straight to the base. Okay. And why we did that? It's because the bass and the kick share the same space. It's very important that if a boost of that frequency remove some of that frequency from the base, even though the dominant frequency of the base is not there. But I want to make sure that may kick is dominating and driving the groove of the song. And the base is more often assistant and a fellow of the mix. Okay, cool, Let's play. Alright, know that we've got that out of the way. We're going to switch off the base. But yeah, I do feel like we can add some saturation, the pebbles of saturation. It's to add or more punch to the sound. Okay, so we're gonna go to our Effects. You can use joins in shape, pose distortions to add more punch to a drum or a vocal track. It depends on what you want to achieve, okay? But in this case we're going to use the distortion, okay? We're gonna go to distortion. All right, you know what a distortion is when a signal is clipping that bad signally here and thus the distortion. So they were able to attend that a bad sound to an effect. But you get used to add surgeries into cells. So that's why we have a distance in plugin. So we're gonna go to discussion. We're going to use this one and hit stereo. Okay, great. This is the distortion. Okay, it just dropping it in. It already has settings set up. Okay. Over here these a try if the drive is the amount of distortion you went to apply on the trip with the drive set to 0. Okay, let's push it up by Cu grid. So the first thing I'm going to do now, I'm going to add, again to gain two. We're gonna go to utility, stereo gain two. And we're going to drag these. Hold. Drag, drag. If it's on top of the plugin, is going to replace that plugin. Let's push it up again until we see a line. Now the gain is the first plug-in, okay? Right, the whole purpose of adding that gain plug-in R1 to decrease my fader. A 1D 2D, decrease the gain of this sound before the effects. All right, great. So what I'm gonna do, I'm just going to chop off four. Let's do something like 40 dB. Let's play. Great. That is to give myself more room to play around in enhanced this KEQ. Let's do something like minus 54 guy. So this is controlling the gain before any effects, right? Let's play. So this way we have headroom love to play. Let's switch on the distortion again. Let's go back to it. Let's remove it Key EQ. Let's play. As you can see, with the distortion on the Keq sounds a bit muffled. Reason why this distortion plugin has an EQ, is just one knob that is able to remove the top end or allow more top NPC's. Okay. So this is a lowpass? Nope. Okay. So for example, up to 20 days, no cutting. Okay. Let's go back to the EQ because I want you to have an image of what I'm talking about k from the left-hand side, which is your low frequencies. You have 20 heads. That's a super low-frequency add to the right side we have 20 K, 20 heads. It's the beginning, which is the low end. From the left-hand side. As we go up, we hit 20 K. That is the top end of the frequency spectrum. Again, show this NOP is cutting from, basically from the right side, which is just chopping off the top end. Great, That's the whole purpose of the knob. Now back to the distortion. Let's play. The more Pull it back, then walk at the top end. Go, You're going here. Great. Let's leave it at 1.5 and adjust the drive. Let's do something like 2, 3 dB. Switch it off as two T, two dB of l. That's too much. So chador, Let's allow more top end. Alright, I like it with more top end. Okay, So the drive just edit some distortion which is more a tick, more punch to that kick. Let's switch it off. Switch it on, and grade the output. Let's just do minus one dB. Great.
6. Kick & Bass Mix - Saturation, Side Chaining: Welcome back. Now I can adjust the level of the kick. Let's do something like minus 40 dB, snot a row and just adjusting, okay. Okay. I want my kid to sit around minus 12. Well, I'm playing, I'm looking at this level meter minus 10, minus 12 dB as decent or my kick. So let's switch off the effects system on. Okay, now the kick sounds way more punchy. Okay, let's go straight to the base. What I'm going to do to the space, I'm going to add a distortion plugin also, it's to add saturation. That's the whole purpose of this distortion. I'm going to select an overdrive distortion again. Let's play. This is a great distortion plug-in for base 80 aids the basis like this one. Okay, so this has the same note as you can see, the output, Dr. Tony. Okay, let's play. But it adds some credit, some rumbled to the base. So what I'm gonna do, I'm gonna show poof more top and from the space. Kayla, such as the output is two minus 20 dB. Let's switch it off. That bass sounds way more heavy than before. Okay, so what I'm gonna do, I'm gonna do the same thing. I want to have a gain. No. Okay. So I'm going to hold option. Hover over the gain plug-in. Left-click, drag it. Hold, make sure it's the first plugin. This plugin minus S2 minus 4 can push up the fader. When I'm using this gain to make sure that I'm not distorting, but still have enough headroom. Okay, then last step we're going to do to this kick in base. I'm going to introduce you to a concept called side chaining. Okay? So basically say Cheney is a parallel processing technique where one signal Trek is controlling the amplitude of another signal track. Okay? For example, in this case, when the kick hits, I want my bass too deep in volume just a little bit to make room for the kick so that the listener, Here's a punchy kick and a 1D of that base to go up and volume real quick after that kick signal goes off. Okay, so we're just going to do a subtle side chaining note like EDM tracks where like the base is dipping heavily. Okay, So we're good. We're just going to do it. We're just gonna do a little bit saved chaining so that we have space for the kick and base on the low end. Okay, so first thing we're going to do, we're going to go to the bass track. Left-click and said the compressor, stereo compressor. Okay, as you can see over here, we have a compressor or old compressor stuff, okay? Over here you have other settings and precedes of the compress modeling Hadoop compresses, but we're going to stick to the platinum digital. I'm going to switch this compressor to side chain set of output. I'm going to switch it to side chain, right? And then as you can see over here, these are to gain, We don't want anything on auto. Everything that's going on in our mix, we must be able to explain it. So we have to do everything ourselves. So switch off the auto gain, switch of the release. And if it again that detection and leave it at max limited RMS live the filter off. Again. What I want to make sure, I want to make sure the makeup gain is great. The released the knee. Okay, so before we do this technique, I want to explain real quick what is a compressor just in case the first time you see an impressive, okay? So over here we have a threshold. A threshold is the point you set in the compressor. If the signal passes this threshold, it will be compressed. Over here you can see these Eurasia, Nope. The ratio, it's the amount of compression. Okay? If I set this ratio to one, no matter how hard I can go with the threshold point, nothing is going to go on and everything is linked. When it comes to compression of the ratio is the amount of compression, 321, That's okay, compressor and enforced to wind its descent for vocals. And the more you go up, the heavier the compression is. After 15, that's more like heavy, heavy compressing your limiting. Okay, great stuff. The makeup gain is, remember that we set the threshold. When the signal hits that threshold point, the compressor will start compressing that signal. Okay? So you might be wondering, what does the compress that do? Basically the compressor of ticks, the loudest peak of the signal and tense them down a little bit and takes the loudest sounds of that signal and lift them up a little bit. So basically it's to create consistency. But while we are compressing will lose in some amplitude, we're losing some volume. Okay? So to make up for the volume we lose, let's say if we are compressing like minus five dB volume, and then we're going to use the makeup gain to make up for the volume we lost. One will compress it. And maybe four or five dB based on the amount of dB you are removing from that signal. Okay, great. And over here you have a need, but that's how sharp or soft the compressor grabs the signal, that's your knee over your head, you attack. The attack is the speed of the compressor to act, okay, to attempt that signal, basically super fast attack of the minute that signal hits that threshold point, it's compressed, a bit slow compression like 1520, It's decent for Volcker's, it grabs the signal real quick. That's a super fast attack. A slow attack. It takes time for the compressor to pick up the signal. It might not even pick up if it's a signal that goes and goes off real quick gear, that's your attack. Over here, you have your released. Like I said, everything works. Give it a guess. So there really is, it's the amount of milliseconds it takes for the compressor to let go of the signal back to the original signal. Okay, so the compressor grubs the signal, compresses it and they released tells it it must hold it for how many milliseconds? For example, for vocals, I'll use something like a 26 milliseconds, Harrington 10 milliseconds, again, a super foster release. You can hardly hear the compression because it's hardly holding the signal. That's how you use a compressor. Perfect. So what are we going to do? We're going to use the same chaining feature in this compressor care. As you can see over here, that is your side chain. Side chain. We're going to hit from Internet. We're going to select audio. Look for the kick track, which is audio five, and he'd kick. Cool again. Now let's play. All right, as you can see, the meter only moves when the kick hits because this compressor now is triggered by the kick trip. Remember, you insert the compressor on the track, you went too deep in volume gain. Great. So let's play it. All right, there's hardly anything going on because the threshold is still up and down. It's picking up in a signal, okay? But I want you to have an image of what I'm talking about. So we're going to switch it from Graph 2. We're going to switch it from meter to graph so that you see a visual representation of what we do in, okay, so let's play it again. As you can see over here, that is the Keq signal. Okay? Okay. Let's set the ratio to something lie. Afford a one for every four decibels. We are letting go one. Okay, so let's play. Okay, So let's go crazy with the threshold. Let's push the ratio up a little bit more. I want you to hear this effect is called the threshold as two minus 40 and play. Now you can hear that typical EDM keeping bees a side chain, but we're going to try to be a bit gentler with this, say chaining because that's not the if it were going for gay show, as you can see over here, we have decent enough attack. It's fast enough. Let's set it to 0. I want you to heat. And gates aggressive. Let's do ten milliseconds to something like 20. It's a bit gentler when it comes to grabbing the signal. As you can see, the graph here shows the knee. You can adjust the knee. Just how sharp I'm compressing. Grab easy Gears. You can see over here, let me interested officials who can, so you can see it. Check this out. That is a sharply and that is the gentlemen. Again. Let's set it to minus 30. Okay, let's demo. There really is no up. Let's do a super slow release, okay, by pushing it up, that is a super slow ray listless play. It's taking time to let go of that signal. That's not what we want to unconsciously chaining. I'm going to do something like 50 milliseconds, which is a super-fast release. I want the space to dip in volume real quick without the listener here and what's going on? Alright, that's heavy, like minus 30. Let's, let's do something like minus 10. Let's play. Sounds good. Let's switch off these plug-ins here before and after. That basis can overpower and make IQ, or at least no clarity, they just fighting, fighting, fighting for the same space. But let's switch this. Now you can clearly hear the kid and you can clearly hear the bass without them clashing. Okay, and we done with the low-end sections, but you can make further adjustments to your liking. Remember to hit Command, Save. That's it for this lecture. We'll see you in the next one.
7. Percussions EQ, Saturation: Welcome back. In this lecture, we're going to start processing the percussion sounds. We're going to start with the EQ and some saturation. Okay, let's go ahead and loop only for an AI to 65. So I'm going to hit Command 2 to open my mixing truck. Okay? When soloing the ambition snare, throw an EQ, going to China, EQ or EQs channel EQ. Okay, but the foster way you just double-click on this tab, which is EQ, and the channel EQ pops up. Okay, so the festival going to do this is a pick and shouldn't sound is listen to it. All right, great. So obviously there's not much going on in the low end because this is a mid-range sounds. Okay, but just to make sure, let's listen. What's going on from, from 20 to 180 is play. Okay, increase the volume. Alright. There is some low frequency, some low mid frequency information over there. So I wanted you to hear that so that you can take it into consideration when you're making an adjustment. Okay, so what I'm going to do now I'm going to remove the low end, but I'm going to be gentle with it. Well, I'm chopping off listening to it to get it because I don't want to take away the life and punch off it. Okay. Let's play. All right. Something around 139. That sounds good to me. Okay. I'm removing all the frequencies I don't need from the low end because R1, anything competing or messing with my base n 60k. Okay, so let's play, right, if you like, you can go crazy with the card. Something like 200 heads will do also. Yes. All right. As you can see, this is a gentle k of k, So it's not chopping all the information, so we're still getting some 100, 150 heads. All right, the next thing I'm going to do and what a super on the midrange. This is to add more presence, give the sound more presence. So I'm going to boost and see which one we can get away with boosting play. All right, So to boost this knob right here, what we're going to do, you just hold left-click, boost up and a down to sweep around left and right. To narrow or wide in the band you use two fingers on the scroll pet. All scroll up and down if you're using a mouse gear. So display. Yep. Right. So the whiter it gets, you already know that the more frequencies were 15. The narrator is, the lesser the frequencies we are fitting, okay? Right? Right, 620. Let's just do a 2D be cut. We can use this to 10 down the TB's, but the ease more straight to the point way of adjusting the TVs, which is using these perimeters over year. That's tenant dance just to 2D be. Alright. Alright. We can get away with removing some of the top end. So let's go ahead and enable the top cut, which is a low pus. So removing the top end and letting the low mids and the low-frequency information to pass. Okay, So this is a low pass filter. All right, cool. Right. Now you can hear the EQ get, you can get away with that if you want to change the tone, but that's not what I want. So I'm gonna go easy with that high cut, okay? All right, so don't get confused. The high cut, it's the same as the low-pass. It means it's letting the low frequencies pass and removing the top and once, okay, great, Let's go to the next sound. Solo. Great. It's bringing a challenge EQ, this one, I went to solo it. Remove the low end. Okay. Enable the high pass filter. Which is a low cut. Yep. Yep. I wanted to take me to a little bit more. So under remove the low means a little bit. Yes, I want it to be sharp like that. So I'm going to say super odd and see if I can get away with boosting any meat frequencies. All right? Okay. Good. All right, now we're fine with it. As fine as is. As you can hear these some reverb to this simple already. And it's right there in the top end. So I'm not going to mess around with this top end. It's going to help fill up the mix if I let it be, because trying to remove and trope of everything from a simple, it can lead to it being sound in mix, okay, so try to cut as necessary as you need to be, but don't go too crazy with it. So the next thing I'm going to do when I edit distortion as saturation to the sound. Okay, so I'm going to add distortion. We're going to go to distortion, stereo. Okay, Let's play the sound. Great. Right on this distortion. And remember we have a low pass filter, okay, so we're going to push it up because I don't want a near filtering. Let's play. Yes, ten down the volume just a little bit. Right tend on the drive, sorry. Great. That one dB dr works for me. Okay, so the reason we have this tone adjust the year, which is a low-pass filter. When you add a distortion, it makes the cell more aggressive. So a low-pass filter, which is a high-cost field to help soften the sound, to lump it together, Let's try to do a gentle low-pass filter. All right, let's leave it at seven. Okay, sounds good to me. Let's go ahead and add another sample. Great. As pull up an EQ. We're going to do the same thing. All right? I'm going to remove the top and also from this one. Play with great care. Let's go ahead and add another simple which is a crash. Again, as I had all the samples tend on the volume of this evokes keeps rightness tinned on this question obit. When it comes to high heads, I like to pay my high heads some to the left, so I'm to the right, right, the right. And remember the distance between your two speakers. We call that a stereo field. So the more you use pending in your mix and the full layer mixes will sound, okay? All right, I would like to add EQ to everything, but we're gonna do gentle low cuts to these sounds good. All right. Let's go ahead and add an EQ to this high head. Right? I don't wanna go too crazy. Grace is fine with me. Let's add another EQ to this one. This is the open head enable highpass filter. Great for this node to compute. One is pen slightly to the right, one is pen slightly to the left. It's turned on the volume just a little bit and played with the drums. Alright. Right, This is too loud. Missed in it. I don't know, be it a runaway subset. Great. To know the ambitions. Great. Get is go ahead and see if these transition, you fix that when f Don't, you have to produce woman two of the preview Mixin. Let's turn it down a little bit. Skip. Get this running an EQ over. Yeah, just doing this Nite logo. Right? And let it be, let's go for the crash. To write just low cut. Let's do a local area. Right? Turn up the volume. A little bit more. Great. All right, I like that, but you can always tweak things to your liking. Saw in the next lecture we're going to start applying revamp and adding more excitement and life to these drum sounds. Good, and that's it for this lecture. I will see you in the next one.
8. Percussion Reverb: Welcome back. In this lecture we're going to start adding reverb to these percussion sounds. So care the whole purpose of reverb is to emulate room, right? Drums consult, way too boring. So always a bedroom emulation to make its own more alive and exciting. Okay, So what I'm gonna do, I'm going to solo the ambitious snare. So the ambitions, great play. All right, this is the song k. I'm going to go straight to the revamp oxo. Okay, before we add anything, Let's hit Control and hit the solo on the ox track. This means the extra solar predicted to care whenever we solo track, it will still play to the same thing. Two other trucks also. Great stuff. Okay. We're gonna go to the reverb track and pull up. We're going to go to reverbs. Use the Chrome River app. I love the chroma or web OVA. You can see we have a reverb, it's set to a room reverb. We're going to use the room revamp. You can set it to a chamber table reverb concert hall, temporary variable t eta. Like I said, it's an emulation of a room of spaces. Okay, Great stuff. So what I'm going to do now I'm going to explain the perimeters real quick. Let's go ahead and explain. Over here, you can see these are wet level. This is the amount of revamp since we're using this reverb when they obstruct, we're going to leave it at 100%. Over here you can see these are dry know, but this is the dry signal, okay? If this is 100% way getting a nod that dry signal, which will be a repetition of the ambition snake in this case. Okay, so we're going to set the dry to 0. We don't want the dry signal from this AUX track. That distance. It's how far or close to the sound ease or how tight the shape of the space. Okay, so we're going to push it up and play. All right, nothing is going on because remember we have incent signal to center it. So what I'm gonna, what I'm gonna do, I'm gonna go to the ambitions net away. You can see these ascend perimeter. You just left-click on it. Go to plus four, which is reverb and send signal. Nothing's going to happen if you don't. Chris, of these sand volume over a year. Okay. Let's set it to something like 20 to play. Great. Pull up the plugin. Great. As tinned on the distance. All right, We hardly getting any reverb. Let's push it up a little bit more. 60 percent. Sounds good to me. So that is the distance of the web. Get great. The dk is the tail of the reverb. Let's push it up. Right? That's way too much reverb, but you can use it as an effect. But in this case we're going to use something like 1 second. Okay, let's play. All right, I like to use the second feature. You can switch it to notes and set the time based on nose, for example, half note. Good to note. Which is a foster dk. But I like to use the time one. Like I said, we're going to use 1 second. Great. I like that. Right? The density right next to the size. Let's push it up. Push it out. Push it up. So I want you to hear it in a way that density comes and add a little bit of a delay effect, but a super-fast delay effect to this reverb bucket as 10, IT tools 60, play, right? 50 percent sounds good to me. The ROM is the amount of room, how big is it? 100 percent room. Push it down. Push it up. Right? That's a big room. So I'm going to leave it at something like 80. Great, because I don't want the room to sound way to tie together. So the attack is how fast the reverb x. So we're going to set it to something like 10 percent because I want it to be first 0, 10%. There's not much difference between 0 and 2 percent. It's still a foster tick. Good. This is how fast the revamp reacts. Okay, right next to it is a pre-delay. Pre-delay. It's the amount of milliseconds it takes for the web to play back. For example, the stress lower one, play. Most lower. The sun hits and then follows, okay, Let's try something like 0. When the sun hits their web, hits at the same time it's instant. You can also use a node feature on this one. For example, we're going to use a half delay, which is going to be a slow one. Great. Or use a 120 81, which is first, let's leave it on time and set it to 0. Let's just do something like just so we have a slight gap between the original sound and the reverb. Let's play. Nice. I like how that sounds. Let's go ahead and use this feature to pull up the mixer because I want it on the same window this time around. Okay, let's play. Great. Yep. So I'm gonna go ahead and add more songs. Brightness turned down the volume is too loud. The voice kid that had done a little bit, red snails to the dome. Right? But let's quickly add EQ two days. We forgot to EQ them and the previous lecture. All right, I'm just gonna do a low cut. This is a separate things now I'm just going to do is slide low cut and leave it as is nice at another EQ to this force here, if it is right there. So what I'm gonna do, and I'm going to add a reverb to all these drums except the Keq git revert to somebody like data was nice. Nice. I like it a little bit. Right? Right. Reverb. Go somewhere. They D, right, I'm going to add 30 to all of these and we'll adjust. See the need of care. That did 30 on a Saturday. When I create this center of minus 30, right? To know the volume a little bit less pan these folks keep to the right just a little bit. This rogue snake and do maybe tool that a little bit. Restless aid without the reverbs. Now the percussion sound more exciting, more alive, and has more room emulation to them. Okay, and that's how you spice up your drums using R0. And that's it for this lecture and the next lecture we're going to start adding a D layer. If it's a spice up the drums a little bit more, maybe a snail or something. Okay, we'll see. All right, see you in the next lecture.
9. Percussions Delay: Welcome back. In this lecture we're going to start adding delay to one of our percussion sounds already have a snare drum that I think will work with the delay, which is this ambition snare. Right? Let's go ahead and send signal to the half of the lab because I want to slow delay for this one was five. Let's send some signal. All right, you can see we're getting some signal. So what we're gonna do now we're going to add a delay to that bus truck. We're going to be using the tape delay, which is my favorite delay. Okay? So what a delayed does, it helps fill up the Gibbs in between and also Ed's excitement to the main to get. Over here you can see these are feet, Beck, amount, mix feedback is a lot of repetitions. Let's play. That's a lot. That's a lot. Let's set it to 20. That's decent. Right? Over year you have the corrector of a bit DLA clip threshold is to make sure that their repetition doesn't pass a certain point. In TB UK, the spread is a stereo wide now for the delay. So if I push the spread up, the DLA feedback is a bit wider. If a push it to the left, which is minus a 100, It sounds like this. It's dead center. Okay, let's leave it at something like ten. Right over here you have the tempo sync at this is to make sure that the delay feedback is in sync with the tempo of the song. That's why at the beginning of the project, as said, you gotta make sure that you set your songs ppm, Okay? This is, this is a delayed time. You can use this knob, quite a proof using this drop-down menu over here. Okay, so we're gonna go ahead and select half delay. After delay is low delay, core a delay. So deviation is basically manipulation of the distance it takes for the delay. So you can push the deviation up. Listen to it. It's a bit slow. It's a bit faster. Okay, let's set it to default. Smoothing is more like an attack if you're using a compressor, it's how gentle that feedback is. Good. So we're going to leave it at 120 milliseconds and lay right over here. You can see these in EQ. This is the low cut wood cutting from the left side, cutting 20 hertz. And this is a high cut wood cutting from the top end of the spectrum, which is 20 k heads. So let's play removing the low end from this delay. Okay, because I want the Fitbit to Sony bit filtered, I'm also going to chop off the top end. Sounds good to me. Right away. Or you can see that we have the 0% dry signal because this is a centric. We don't need the dry signal, so it's fine at 0. And this is the wet level at 30 percent is fine because these repeats the signal unlike the UK. So if one more delay volume, we're just going to send more signal to it. There isn't one level is dissenter. This is modulation. We won't be using these grid display. Let's play with the drugs. All right, Let's look for another snare. S1. Right? Let's add a delay to this one. Also. Push it up and the volume just to be clear with the drums. All right, great. Sounds much better. Okay, So as you have noticed, this is a half delay plus shrinks. This just change it to a code to delay because the delay that works hoping to be a quarter delay, okay, check this out. This is the nodes. So the more you go up, eighth, delay, 16th delay, the faster the feedback is. Great. Let's rename this word to half delay. This is the code to delay. Let's play. There's more reverb to this open edX. Sounds good to me, and that is the purpose of the delay and that's how you apply delay to your truck's. Going forward, we're going to start mixing your keyboard sounds, which is your pants. You synthesizes all that good stuff. That's it for this lecture. See you in the next one.
10. Keyboards EQ: Welcome back. In this lecture we're going to start mixing our keyboard sounds, which is your pads, synthesizes and pianos again, Let's un-solo drums and just mute the vocal bus. Let's Play. All right, we're going to start with our pet simple and apply an EQ. Showed an EQ, you just double-click over here to pull up an EQ. Let's play. As you can hear that this piano, he has a low end. So what we're gonna do, we're going to be gentle with, they're low cut to get a score gay. 16, dissatisfied. Listening to it without using the analyzer, you're going to hear that there's not much going on in the top end. If there's something there, it's just nice solve in a remote the top end also. Did you hear that? Okay. Hello, The debate. Now that's great too. White noise tap what effect is gone? Because we're going to move that top end as coal bed again, listen to it. At the top and again, sounds a bit cleaner. All right, let's see if we can post some of the mid-range from our presence. Oh Alice, do it 20 dB boasts over there. Nice. Let's bring in another song. Show it in a CIO. Promote the low end. 390 card sounds good to me and, uh, removed a lot of top end because I want the sun to sand filtered in a way again. The next thing we're gonna do, we're just going to pin it to the left. So that's good to me. Let's look for more songs. Shown an EQ. Just double-click this HU tab. And all the low end. The top n also. Okay, you don't need to go that crazy with the top cut. But i 1 these baking melodies to sound a bit tilted, right? Let's push it to the right just a little bit as 2 plus turn turn down the volume. A spring animal sounds children each year. Right? 510, low Kurt sounds decent. Shape of the top end year this to something like for k. Right? As you're going to hear that the son already has some revamped to it, so I don't want to chop off a lot of top end and it's removing that revamp top end. Okay, so I'm going to be gentle folk getting to know the volume. All right, Let's push it to the left is to something like 25. And he out sounds, sounds good to me. Let's billion Muslims. As you can see, we accidentally edit to our instruments. Okay, so this runaway SOP is a runaway Sub snack. Okay, so listen to it. Great. So we're going to fix that. Let's go back to the transport window real quick. Go and drag the Schroeder we saw up to where it belongs, which is the drum section. Oh, right. The GZ Karla, a side trip. And I want it to be the same color with the drums. Great. She's the color for the WAV file also colored regions by trucks. Let's go back to the mixer little quick, Let's Play. When it showed an EQ display, it sounds good as send some signal to the reverb with the drums. Alright, great stuff. We're going to continue mixing the melodies. So in the next lecture we're going to start adding compression to the lead instrument to add more punch and consistency. Okay, so that's it for this lecture. See you in the next one.
11. Keyboards Compression, Saturation: Welcome back. In this lecture, we're going to start applying compression to the lead instrument to get, Let's go ahead and mute the drums solo that paired sample. All right, Let's go ahead and add the compressor. Dynamics. Go to dynamics, compressor, stereo compress. Okay, let's play. So a quick introduction or refresher to the compressor. It does gain reduction, which means it's 10 and down the loud peaks and bringing up the low sounds of the signal. Okay, so what happens when compressing would losing some of volume. So for example, the threshold point, It's where the compressor will start working. The ratio is the amount of compression to Tijuana slide compression. Photo1 is to send compression compression. And anything above 15, 20, that's heavy compression limiting. Okay? So the volume will be going down when you're compressing. We're going to use the makeup gain to make up for the volume we lost the name. It's the sharpness of the K of how shop, how aggressive that compressor clubs the Cinna, the attack is how fast of a chrome compress up, cribs the Sedna and the release is how fast it lets it go back to the original signal. Okay, so over here we're going to switch off the auto release. One to do every day to ourselves or to gain, we're going to switch it off. Great stuff. So what I'm gonna do now, I'm going to play this song, right? We already, you can hear that it's reducing a lot of gain. Guided set the ratio to something like two comma five S plane. And done the traditional old kiss, do so into something like two to one. Great. So we're reducing something like minus three dB. Okay? So to make up for the gain we lost, you're going to post that DDB. Yeah, so the attack, like I said, is how fast the compressor grabs the Sigma. As to a super slow attack, it's highly compressing because it's acting very late. So I'm going to do something like 20 milliseconds. The earliest sodium issue with the graph. It's how fast or slow the compressor. Let's go. So let's push it to the max. I get super fast. As you can see yet. It was holding on for some time. Yeah, It's letting go real quick. Okay. So this is a piano sound. A release amount like, let's do something like 40 milliseconds will be fine. Great stuff. So the knees I'll shop. A compressor grabs. Okay. So to the left that's a super sharp knee. A bit general name as planned. All right, Let's edit be the situation to this piano. So over here you can see this compressor also has a distortion feature. So instead of me pulling up another plugin to add situation, I can use these to add saturation of care, for example, that's suited tool had distortion. So shut off, enable the distortion. So I was more warm sounds morphic. Candace, the peoples of the distortion, it's adding saturation is play with the drums, right? To add more depth to the sample, we're going to send to revamp and do something like minus third data revamp displacement. Stand on the base of like it's too loud. Sounds good. Again, that is how you apply compression to your threats. So going forward, we're going to start processing of all goes. That's it for this lecture. Command, Save to save your progress. See you in the next one.
12. Vox - EQ, De Esser: Welcome back. In this lecture we're going to start processing the vocals. But first things first we're going to clean it up, adding EQ and softening the SRP tests before adding any enhancing plugins. Okay, so let's go straight to the main lead vocal care, which is the main hook. Let's play promises of blessing. Right? So what are we going to do? We're going to go straight and pull up an EQ. The first thing you do on any vocal trip, you gotta remove the low end. We don't need the low end and the vocals. So I'm going to go ahead and enable the high pass filter, which is a low cut filter. Remove some of that low end because that's where the kicker based sits. We don't want anything could be tinged with those as play browser blesses. They never stop going. If that she yours a fresh the day that shift show. Right. And 18 is six. Locard. Sounds good to me. And I don't wanna go too crazy with the low cut because there's some low tone. The artist's voice went to maintain that original tone. Okay, so the next thing I'm going to do, we're going to sweep around the mid range. This is to look for any boxes on in frequencies in the mid-range to dip them in volume just a little bit for a more clear sounding vocal care. So let's go ahead and super, and normally you will find them are around 250 to 600 heads to 900 heads. So let's play browser blesses. So if you feel like it hits your ear, would tip it in volume. Browser blesses. They never stop going, Gary, if that she yours a fresh the day. Let's shift to show I take the package and then I go, I get the bag I deserve stems from abroad. We deserve I charge a fee for a service. The president advisor to 74. Good night go. So what we're gonna do, we're gonna keep that 274 frequency. We're just going to do a three dB cut. Listen to it after that Cut. Pro the blesses sounds a bit clear, he never stop. Go and get yours. So the next thing I'm going to do, I'm going to use the shelf tool over year to post some of the top end to add more bite and brightness to this vocal. I'm only going to boost off to say when K and aka, reason why from five K27 k there. So you find the sharp S is, and we're going to use it as a tool to automatically reduce those frequencies. Would they pop up? Care because if we do it in the EQ, it's a permanent adjustment. So let's do something or rather blesses, yeah, they never stop going. If that she yours a fresh the day. Plus 3 dB. Sounds good to me. You care? So what I'm going to do next, I'm going to go straight to the backing vocals shown an EQ also browse other blesses. They never stop going get it, right. It's showing an EQ browser blesses. Yeah, They never going get a fresh, right? I'm going crazy with the low cut and the PEC invokers, something like 400 and 5500 will do because I don't want these vocal to compete with mammalian vocal care. So I'm also going to chop off the top end. Browser blesses. They never stop going, get something like 3.9 places. They never stop going. I think filtered type of beckons would work for the song. So let's pin the spare King trip to the left just a little bit as list rather blesses, they never stop going and getting a better your waitlist, bringing the third backing vocal tone, an AQ. I want this one to sound a bit telephonic effect radio effort in a way I don't know what you call it. So I'm going to go crazy with the low cut on this one. Browser blesses. Yeah. Yeah. They never stop going. Right? Chop off the top and also browser blesses. Yeah, yeah, they never stop going and getting great. I'm going to push it to the right. Plus 15 is play browser blesses. They never stop. Go and get a nice, let's mute this for a second. So what I'm gonna do, I'm gonna go back to the lead vocal row when a DS apply again. So for the DSR, you just go to dynamic. It's a dynamic process because why it is a compress, a lot of people don't know that DSA is a compressor. It's a compressor. But that's designed to focus on a specific frequency. Okay, So real quick I'm going to explain the features of this Ts, okay? So for example, this is a threshold on a compressor threshold, it's where the Congress I will start compressing. For example, if a signal reaches that threshold point, it will start getting compressed. Makes reduction is the amount of gain reduction when we are compressing. Okay, so take that as a ratio in a way, the frequency is the frequency we are going to focus on DP with this DSA, the range is a tool to decide if you want your band wider or a bit narrow. The split is a bit narrow and wide range. It's a white pen with basically the filter. Do you want it to be a bell or a shelf, which is a shell from the point it starts effecting upwards or just focusing on that frequency, that's the filter as you can see. It also shows a graphic kind of explanation either way. Okay, so the filter solo, this is two here that the frequency you are focusing on. Normally when you pull it up, it's already set to say when Kp, because most vocal tracks, several gators where you find your shop as is. But the whole purpose of me pulling up this plugin and expanding it, I want you to know what's what so you can do whatever you want, okay? So all the numbers I will be setting a node rules you can always adjust and two things to your liking. Okay, So let's play, bro, the blesses. They never wanted to hear the impact of the threshold is pull it down. For all the blessings. They never stop. That's too heavy. Okay, Let's pull it up a little bit less to minus 20. Pro the blesses. Yeah. They never stop. Go and get yours a fresh the day that she would show. Right? Let's decrease the amount of gain reduction. Pro the blesses. They never stop. Okay, Now it's 0. There is no reduction. Listen to all other blesses. They never stop. That. She yours a fresh the day that she would show. I take the peg. Great. That sounds good to me. That's seven K is fine. But when I'm mixing aldolase play around, see if I can make these Ts in bed. You know, tried to be a perfect genius in a way. But to save time, I want you to understand the whole purpose of DSE. At the very same time, understand the settings, I'm doing a naught a rule. You can always play around with it. Remember, split, narrow focus, range, wide focus, filter. This a shelf or a bell. Okay, great. The filter solo is to enable it to here only the frequencies you are DP, great. Thus the purpose of a DSO, so the reason I'm not adding a DSA to this Beck and tricks, remember, we already removed that five to seven key frequencies. So there's nothing going on here. Same thing with the spec and track. Okay. Browse plate lunches. They never stop. Alright, great stuff, great stuff. Okay, so what I'm gonna do now, I'm going to go to the last section. We do have booze over year process that vase also, and then we can move on. Okay, great stuff that's controlled to, to bring up the mix again as play. So I'm going to show you a huge time-saving technique. Okay, so basically, we already processed the lead vocal, is the same artists, same tone, same type of vibe in a way. Okay, so to save time, what I'm going to do, I'm going to hold option, go to the main compressor, drag that compress the way it is. Go to the DSA, direct that dS at the way it is. And then I'm going to adjust from there. Already made these adjustments, but I'm going to listen to it and see if there's a need for me to adjust a bit further for this phase, Let's play. Was still pay a does a better job. Still pink. You see these adjustments sound good, but I think I can go a little bit easier with the high post links to something like 1.5 Alma homies rocket Street made. I let him talk and was as CFA, it doesn't matter if we still paid, uh, does it better off to still paint, right? S is a bit more sharp on this one. That's increased again. Let's increase the gain reduction. Yeah. All my homies rocket Street made, I let him talk and was as CFA, it doesn't matter if we still paid a right. A lot of S's are still passing by. Let's try a wide range. Yeah. All my homies rocket street too much. Yeah. All my homies rockets treat ME Super of the frequencies. Yeah. All my homies rocket street made. Let him talk and was as CFA, it doesn't matter if we still paid, uh, does it better off still paying greatest crazy acids. Both five, sounds good to me. Is it with the monks reduction again? 90 BIA Alma homies, rocket Street made. I let him talk and was as shift day, it doesn't matter if we still paid. Uh, does it better off? Still paint, right. Threshold. A little bit more? Yeah. Ama homies rocket Street made I let him talk and was as shear. Yeah, those are my homies. Rocket Street made. I let him talk and was as CFA, it doesn't matter a if we still paid, uh, does it better off? Still paying is crazy. Super on the frequencies of bit more. Yeah. My homies Rocky Street made I let him talk and was as CFA. It doesn't matter a if we still paid, uh, does it better off? Still paying is crazy. I never fear saying a pesto home is lag is prepaid. The Renaissance, He's not a main man. I'm the new drug, a villa, Lil Wayne. See me or my neg sexual. Nice start. Sounds good. 6.7 solves goad. 6.7. Sounds good to me. Alright, let's play it with the bid. Was still paying based on macaws. Freaky. Let me all right, I love where this is going to love where this is going to get. So what we're gonna do next, we're going to start adding some punch, some compression to this vocal so that they are competitive and terminating, taking up their own space in this trick. All right, that's it for this lecture. I will see you in the next one.
13. Vox Compression: Welcome back. In this lecture we're going to start compressing our vocals. Why are we compressing our vocals? This is to create consistency and punch so that all vocals sound more present in the mix. Okay, so what a compressor does, Let's say for example, a school street to the browser, to the bryozoan to show you something real quick. So for example, looking at this wave vocal, these high peaks and these low peaks care the difference between these high peaks and low peaks, it's called dynamic range. For example, this sub bass has a low dynamic range because of the distance in between the peaks and highs. Look at this one. This wave has a high dynamic range of the purpose of the compressor. It's to change the dynamic range to be a big titles so that the sound sounds more consistent. So I'm gonna pull up a compressed while on the vest section. Let's start with the vase. I'm going to go to dynamics, bringing a compressor, mano compress. Okay, Great. Yeah, you have other compressor types modelling hardware compresses, but we're going to focus on the platinum digital. Okay, I'm going to explain again because I want you to understand the concepts more than what we're doing with numbers here, the threshold point is where the compressor will start compressing. The ratio is demo to compression. The makeup gain it's to make up for the game will lose after compression the attack, how fast the compressor grabs the Sidner. The real is how slow or fast it, Let's go the knee, It's how sharp or gentle the cavities when gripping the signal, the altar again, let's switch it off. Or to release it switched off. We want to do everything ourselves. Got to be able to explain why a certain adjustment was made. Okay, great. So I'm going to play these vis yeah, AMA homies, Rocky Street make and let him talk and wasn't first thing I'm going to do, I'm going to set the ratio, okay? So you see over here 22, and that's light compression, which means for every two decibels recompress we letting go of one, uncompressed. Okay, so let's go up. Four vocals are like to use something like four to one, which is a bit more compression because it has a high dynamic range. Remember, high dynamic range, it means there's a lot of distance between the high and low sounds, a low dynamic range. The WAV file is a bit tighter. That's your pianos and a salt. So we're going to set it to four to one and start messing around with the threshold. Yeah, there's the Army's rocket Street made I let him talk and was as shear Fei, He doesn't matter if we still pay, uh, does it better off? Still pay is crazy. I never fear saying a pesto home is lag is prepaid. The Renaissance, He's not a main man. I'm the new drug or villa, Lil Wayne. See me or my neg acetal, What's going on? You can hear that the volume is going down. Let's play without the compressor. My homies rock with it. Yeah. All my homies rockets Street made. I let him talk and was as shear Fei, it doesn't matter if we're still sit the attempt to something like 15. Yeah, 15 is five. All my homies rocket Street made I let him talk and was as shear Fei, He doesn't matter. Right. And the release listed something like 86 realist my homies rocket Street made. I let him talk and was as shear Fei, He doesn't matter who still paid. Does it better? As you can see, we are reducing something like minus five dB. So we're going to boost by TB with the makeup. Yeah, AMA homies rock history made a let em tag and was CFA it doesn't matter if we still pay. Okay. I did 60 biggest Alma homies, rocket Street made a let him talk and was a CFA. It doesn't matter if we still pay. Uh, does it better? Still paying is crazy. I never fill saying. Okay, while the compressor is compressing, trained to make the vocal punch in everything, It's lifting up a load of frequencies, the scope it to the DSR real quick and go a bit heavy with the threshold and gain reduction because the sharp S is popping up more. Yeah. All my homies rocket Street made I let him talk and was as shear failure, it doesn't matter if we still pay, uh, does it better off? The still paying is crazy. I never fear saying a pass. No OEM is lag is prepaid. The Renaissance. He's not a main man. I'm the new drug or villa way. All right. Let's hear it without the note. Say it without the compressor. Yeah. All my homies rocket street may put the compressor. My homies Rocky Street, still the same for you, but it's always more punchy or great. Alma homies, rocket Street made, I let him talk and was as shear failure, it doesn't matter if we still pay, uh, does it better off still paying? Great stuff. Let's go to the lead hook. Know first I want you to hear it without the compressor, with the beat. Let's play. This rock made. Was that she doesn't feel pain. And he's lag is prepaying the Renaissance. He's not amaze man. Let's enable the compressor. Saga was there. You have it. Can you hear that? It sounds more present, it sounds more confident and check this out. The peas alike hitting heart. I just loved them men. Their vocal slips hot. A little bit more care. And that's the whole purpose of compression. That's why it's very important to understand and always use this tool in your mixes. Okay, so what I'm gonna do, I'm gonna go back to the Home section. All right, great. Let's drag this loop. Right? Let's bring back the mixture. Brought blushes. They never stop, right? What I'm going to do again, I'm going to take those compression settings, shake them to this one so that I don't start from scratch. If already did something, I'll take some of that and just adjust from what, a deed from there. All right. Great. That's me. I like to save time in. Blesses. They never stop. This focus is a bit louder than the other ones. So what I'm gonna do, I'm gonna just gonna go easy with the threshold blushes, right? Let's switch off the gain. Probably the blesses, you, they never stop your afresh the day that she would show. I take the package and then nag go, I get the bag. I deserve steps for my bro. You deserve it? Yes. I charge a fee for it serves to Prezi then I deserve I get the Baghdad is nice, right? We are reducing TB, so we're going to post five dB with the makeup gain. Listen to it. Probable that blesses without the compressor. Probable that blesses with the compressor. Probable that blesses is they never stop going. Good. Effect. She yours a frosted day that she first show. I take the package. Nice. Then nag, go listen to it with the bit and everything else. All right, So what I'm gonna do, I'm gonna take that compression setting hold Option, drag it to the backing track. And I'm going to do any light, very light compression, all the baking tricks. I don't want them to be dominant, but I want them to have some consistency of heat, you know. So I'm going to play, I'm going to do something like 20, 21 with the ratio, it's just the ratio for lighter compression. Play. Then average score easy. Should reduce the gain. I made a Baghdad is FTP, bull's eye chart a little bit with the threshold. Nice. Three dB boost. Nice. Shine. That light. Compression. I'm going to drag it to the other pickup truck also. Let's play. The Baghdad is nice. But if there's anything, even a tiny, tiny, tiny pitted thing that you didn't understand that feel free to embarks me the whole purpose of view. In this course, I want you to get the results snowed about anything else. It's about you getting the results. So feel free to shoot me an inbox and be like I understand that part. I'm going to make sure that a shoot something real quick to respond to your request. Because at the end of the day after this course, I want to be confident with your mixes. Okay, so we're done with this lecture. In the next one, we're going to start adding reverbs and delays to make these vocal sound a bit wider, more exciting, more live. That's it for this one. I will see you in the next lecture.
14. Vox Reverb (Creative Effects): Welcome back. In this lecture, we're going to start applying creative effects which are reverb and delay to add more depth to our vocal track and space and excitement at the same time. Alright, so what I'm gonna do first, we'll already have a drum reverb track. So what do we need now is a Volcker Rule web truck. Okay. So let me just close these. They're confusing me. You just hit this arrow to expand the group. I'll close it. So all you have the vocal group open. And this also uses more room to play with great stuff. So what I'm going to do, remember, we have to create a new centric. What are we going to do? Tick, tick, tick, tick, tick, tick, tick, tick, tick, tick, tick, tick, tick, tick. You got it. We're going to use options to create new auxiliary track, or we go to set and just select an empty send track. So I'm going to go ahead and select an empty track because automatically it assigns the input to this passive in at the very same time, opening an abstract puh, puh, puh seven bomb grade stuff. So let's change the color. Because you belong to yellow, yellow guy, right? Let's say evokes a really great stuff. So I'm going to sort of protected, which is heat command. Let's solo. Now it's sort of protected whenever a solo, another trick, this one will not be soloed. Solar Safe. Great. So what I'm going to do now, I'm going to pull in another effect. We're going to go to revamp Crow my reverb. Why is this a mono track? What's going on? Yeah. No. Okay. This is the extract guys. It's supposed to be a stereo track Channel mold that sushi to stereo. Follow my mouse. And this 1 second, you click two seconds. Now it's a stereo AUX track. Please always make sure your abstracts stereo because we are using stereo effects like tape delays, reverbs, all that great stuff. So let's put in a reverb. Go to a web Chrome, River app, Stereo, Sue. Great stuff. So what are web does? Basically, it emulates room, it emulates space. So we use these mixing to create a Peter T-TIP, make the vocal sound more spacious, more wide in a way without using a stereo wide now, okay, and it also adds a bit of excitement. Okay, real quick, I'm going to do a refresh again because I wanted to understand the tools so that you can do whatever you want. Okay, so the first thing we're going to do it, Let's go back to the main hook and send some signal to this reverb and play. They never stop calling as you can hear, revamp already. Okay. So the density check this out. Play blesses. They never stop. Density up. Blesses thing. Now, the density is kinda increasing the top at adding some realistic type of field to it in a wet. That's what the density does. Browser the browser blesses. They never stop, increase it. Probable that blesses, they never stop. Calling. It, kind of make it big in a way and it's right next to the size. So the size is the size of the room. A big room sounds like this. Rommel the blesses. Small room. Probably blesses guess or the density kinda does the same thing with the size. So you hear more top end when it's up. You hear little top end when it's down because it sounds like it's a tight small room in a way. So let's increase the size to 100%. Play, probably blesses and just play around with the density. Let's push it up. Probably less probable blesses, you can hate. You can hear it again. Probably sounds a bit more realistic with the density up. Probably blesses. They never stop. Nice. So what I'm gonna do next, I'm going to show you what the attack does. Okay? So basically the attack is how first they're reverb x, more like in compression in a way, okay, a slow attack browser VLC thing. You're going to hear the original signal and then the reverb kicks in in a way, okay, the pre-delay, basically the pretty relates the amount of milliseconds it takes for the delay to kick in. So instead of using these milliseconds, I'm going to select notes because you're familiar with notes. Remember the delay. So something like a half-note as like this. Probably the blessing. Is it. You say, so the original signal hits and then the river follows like a TLA in a way, okay, a quarter one. Probably the brushes. It's a bit faster. Okay, but check this out. We're going to use as 0 pre-delay because I want this to be instant. Browser blesses. They know this stuff. Over here we have a TK, know what a decay knob does basic early. It's the amount of the tail of the reverb. I like to use the seconds instead of the notes. Okay? So I'm going to use the seconds. I'm going to do something like max delay. Let's play promises. What a cool effect, but that's not what we're looking for. Okay, So I'm going to set the DK2 two seconds. Okay, I wanted to be super fast. Okay? So basically this is molecule sustain after the delay plays. This determines how long it goes off for care. So let's play the 2 second 1, probably the flesh. They never stop going. If that's your. So the distance is just the distance between the sound. You end the room basically, care so high distance, Let's play, promises. A blessed thing now is start small distance. Browser glasses. They never stop calling Gary, right? So you close to the solid, you close to the walls so you don't hear a lot of reverb basically. Okay, So let's push it up a little bit less 200, 50 percent browser, VLC. They never stop going. Yours. A fresh show Oedipus package, right? The dry norm is basically the original signal. But remember this is an extract, so we don't need the stripes. It's okay at 0, the wet is the amount of reverb. Oh wait, no real vertical blushes. 100 percent wet. It's a lot of web browsers blessed. But since this is a centric, we're going to adjust the amount of free web we apply using the sand perimeter over yet this tiny, tiny, nope. Okay. I like to repeat stuff because I want you to understand. All right, great. So let's do something like minus 20 cent. Play. Probably the blesses, right? They never stop going. Cool thing. We have less heat option, default set of ways first. So another cool tool we have. We have an EQ at damping EQ. So this EQ controls the frequencies. Okay? So for example, on my reverb, I'll chop off some of the top end browser blushes. They never stop calling. And the low end browser blesses. Yeah, they never stop going. If that she yolk. Reason why I'm chopping off the low end. I don't want the low frequencies from my reverb. And I don't want to super top end because the focal or the reverb will sound a bit more Washington as the blesses. They never stop calling Gadigal a spring in more low end just a little bit. Probably the blesses. They never stop calling, get yours afresh the day that she was show. Nice. I like it over here you have your presets. You can always use preset. Let's say if you do drums, vocal, chamber, play around with those and see where that gets you at the same time, it's going to teach you more about the plugin. And you can always start adjusting from a press it. You can always do that. It's not cheating, it's music production. Okay, Great. Control, Save, to save the progress. So let's play with the bit. All right, great. As you can hear, the derivative is adding a lot of depth to this focal. We're going to do the same thing with the backings. Let's add some reverb, folklore revamp. Play. Blesses. They never stop to this backing track. Also, folks, rip bro that blesses your fresh the day that she, for sure. So let's mute your baggage. This sounds a bit wider, more exciting, more depth to the vocal, and it's taking up more space in the mix. Okay, so what I'm gonna do, I'm gonna send a reverb to the vase, Shrek also to the same amount which is minus 20. Okay, You can always adjust it to your liking. Remember, it's not a rule. It's not a rule. So let's go back to the verse section. Right? It's 10 dot, That's a lot. That's a lot. That's too much. 225. 225 on these also Rock street name. And it is crazy. I'm saying that when a song is known as essentially a label, they want me, right? As you can face, you can play around with your own adjustments to make things to your liking. Okay, for backing tracks are like to add a loader revamped because they are backing track special and hip-hop songs and works on packing tricks, care, Command, Save to save your progress. This lecture continues. We're going to start adding delay to fill in the gaps in between, made them sound more exciting. Okay, that's it for this lecture. See you in the next one.
15. Vox Delay: Welcome back. In this lecture, we're going to start editing the TLA effect to all vocals. This is to fill in the gaps in between the takes and make a mix of Mofolo and interesting. Okay, the first thing I'm going to do, I'm going to solo the surface because player my homies rockets to make for a few seconds. Let's just switch off that. If it were now the ox track, Let's play all my homies Rocky Street make and let him talk and was there share fe right? What I'm gonna do, I'm gonna select Pass, send to the quartet delay who already have one. Remember, during the drum section. Great, so I'm going to do a refresher also, what the tape delay does, which is a delay basically, it sends a signal to it. Yeah. Ama homies, rocket Street made and let him talk. You still pay a does it still is crazy. I never fill saying the real ASAM is not a may see me or my name and label. And you grab us, get our focus in. This mother is trying. All right, let's try the half delay and add a delay to the track, tape delay. Okay, let's switch to the notes to half note. Let's play it. Still. Does. It is crazy. I like the half delay for this truck. What I'm gonna do, I'm gonna widen the TLA character a little bit, push it up. Yeah, my homies, Rocky Street may allege. So basically the spread signal is a stereo wide. Now, it's way you can decide if you want to widen or narrow the feedback signal. And let's use the load is removed. The low end of my homies, rockets Street, make sure both the top and also alma homies, Rocky Street make a lead. I wanted to sound filters are my homies. Rocket street. May I let him talk and was there CFA? It doesn't matter. Still at does it better off? It's crazy. Has now turned down the signal. We ascend into that truck. Yeah. Ama homes rock history. I let him talk it up again. There's two something like 11 yeah. My homies rockets street. May I let him talk tonight? Are my homies. Rocket Street made was that she had just a little bit more minus 20. I don't want it to be to present. I want it to be at the back. It's just filling up the song but are o at the listener to like here, here it clearly, you know, so let's enable the reverb also display name. Was there. She is crazy. Right? Nice. So let's go ahead to hook section. Hook section. Let's do the same thing at plus six, which is our half delay. Let's send signal the same amount, that 9%, I think it's going to work here also. Extend down this Beck is just a bit this pen it more to pick into truck. Let's turn it to the left. Turn down a little bit down the delays AND okay, minus 14. Turn it down a little bit more. I don't want the listener to be disturbed by that repeating signal. I wanted to be in the bare ground. Let's listen to it from the first. And they want to tell me what was God now, I want to put our focus in. This. Mother is trying to get me off track. Mandela face is bone. Pain. Sounds good to me. Sounds good. Sounds good. But check this out. We're almost done. What we're note that in the next lecture we're going to start adding a peach correction tool called the peach correct. We're going to edit, AUTO-TUNE If it but using a Logix dog plug-in, that's what I love about logic. It's just the best man when it comes to stoke plug-in, it has the best stock plug-ins. That's my opinion though, but I think it's the third one. All right, Great. That's it for this lecture. I'm gonna see you in the next one.
16. Vox Auto tune Pitch Correction: Welcome back. In this lecture, we're going to start adding or a qn to this vocals. But don't worry, we're not using any third party plugins. We're going to use a stock plug-ins effects like the M21. We're gonna go to pH, we're gonna go to pitch, pitch correction 10. All right, real quick, let me explain how to use the tool and what the tool does. So basically, if you know that TPA in acute effect, That's what this tool does. Basically it helps to tighten your notes a little bit and makes your mixes on more modern. So in some vocals, the notes already on point, but I just put it there to tighten it and make it sound better in a way. Okay, so for example, here you can see that there's a piano. When the vocal is singing, it kinda shows the nodes. It's hitting in a way. Okay, so this is the range. For example, this is a male vocal. I'm going to select, instead of normal range, I'm going to select low range because this is a low male voice over year, you can see there's an option to select the key of the song. Remember at the beginning said you must make sure that you have the key of the song before starting any mix. Okay, great, we have it over there. It's B flat minor. All right, great stuff. So we're going to select my manifest to enable everything. So we're going to go to my gear, we're going to select natural minor scale. And then we go to B flat. What is B flat on the keyboard? This is b, and this is a sharp. This is also B flat. All right, so we're going to select a shop which is B flat. A sharp is B-flat. Okay, great stuff. Let's play browser blesses. They never stop, is to make sure that our only Qn is on point. Here. You see there's a slow nob. And first, okay, so slow means no or unit or blesses. They never stop. Right? Let's mute this reviewer for NIH. Needed, as Blaine probably blesses, they never stop going. Write a super-fast browser. Blesses. They never stop. That's heavy or q. Let's try something like this to 25. Probably. Blesses. Go, Izzy, never stop going. If that she yours a fresh day. That's shift show. I take the package and then I go, sounds good. I get the bag, I deserve a switch it off. Listen. Probable the blesses. Yeah. They never stop. Let's enable it. Probable that blesses, they never stop. Go and get yours a fresh today? Oh, yeah, you have a teacher know, but this is where you can adjust the toe. For example, pro the blesses. They never stop, push it up. Probably the blesses, us, the DQ and Bruno going to use that. We don't need it on this bokeh. The three milliseconds to 3.2 milliseconds. That sounds good to me. So I'm going to do the same thing to this baking trucks. We're going to hold Option, drag, hold Option, Trek. So applying or acumen to this backing vocals because they have some melodic or fives to them also. But we're not going to add the origin to the browser. Blesses is play. They never stop. Right? Let's listen to the specking alone list. Let's see if it delay would work over units, right? Productively. Nice. Nice bag. I stands for Marlboro is I charge a fee for sure. I just said the same amount of delay to this one. A coated delay, which is the first one. Remember the score? A delay didn't work on the main vocal. And it seems to work on the PEC contracts. That's why you gotta experiment, experiment, experiment when you're mixing you in experimenting motor as play. Right? The filtered one, I want to go a bit more crazy with the order q. Let's play. Listen to it. Listen to it. It's enabled. This one also. Nice. Let's play with it a bit. Ooh, nice, nice, nice. I love these oracular if it allow how this vocal sound. But remember, you can always adjust things to your own liking. Okay, So we are done with the mixing vocal section. Basically we are done with mixing. In the next lecture, we're going to do final touches just to touch up on the painting, on the adjustments, making sure that everything sounds good Before we move to mastering. Okay, that's it for this lecture. See you in the next one.
17. Bus Comp, Levels & Mixdown Bounce: Welcome back. In this lecture, we going to do some quick bus compression just to tighten the overall mix and then we export the mixed out so that we are ready for mastering. Okay? All right, let's play the mix. Blessing. Remember an MOU today? In the last lecture on this keyboard just a little bit. This is the passive role, the blesses. Your scarf rested day. Yeah. For sure. Each. And then they go, I get the data I deserve this decimal micro meso and the lead role, the blesses. Her staff. From the seven key to 6.7637 historians that also worked for bro the blesses. The Fed sheet, your scarf rested, did yes. For sure. I take the baggage, talk a little bit. I get the bed, I deserve this test from my brother, So I charge a fee photo serves deaf resident advisor. Yeah, I get the bag I deserve stems from my bro. I chose a fee-for-service. Definitely a yes. All my homies rock history made and then stick a dozen. It's crazy on. His leg is green. The red is not a main, main, main way. Maybe some Bayesians, they want me a little bit breathless, get nowhere or verbal in this head. I wanna put on gender. The volume is trying to drag my voice. Mattered. A bank Mandela phases, phase, creaky living thing. A dealer would work on this open edit right here, and it's going to grow the presses. This one. Now, let's try. I'm going to delete it, send it, to, send some signal. Going to hit this play. Right? The next thing I'm gonna do real quick, I'm going to take the base, remove it from the keywords. I wanted to do right next to my kick. Okay, Let's play the bad guy, right? So what we're gonna do, we're gonna do bus compression only on the drums. So this is just to tighten my drum loop a little bit to get. So I'm going to go ahead and pull up a compression, Scala compressor stereo. Okay, I'm going to set to 2 minus y. Switch off the oral dosage of the auto release. Let's play book. But a bit slow attack. Let's slow it down to 20. In Progress. This post something minus three and minus four dB reduction. Let's do a post. Put that in red. Let's switch off the compressor to enable it. Hopefully, push, push, push, push, push. It's a little bit something does play a role. Other places. I think we're going to increase these piano roll. I get embed add is I tragic, depressing and add the Baghdad, Is there any crystal lead instrument rather than less? All right, that sounds good to me. That sounds good to me. Okay, So what we're gonna do now we're going to export this mix down. You can always make adjustments to your liking, all the citizens of media. It's just to demonstrate how to get a decent mix. But this is a decent enough mix. It at the moment, right? It's lit with their with their live least one empty, but just in case there's a delay and reverb at the end. Okay, great. Now we're going to bounce these mixdown. Okay, we're going to go to bounce. Don't select Export, select pumps, project or section. So it's going to pass the selected loop, which is the ozone in this case. Alright, select PCM by default is going to be set to AIFF WAV 24-bit resolution. Or for one symbol rate I'm using. Okay, great of time, real-time. Basically, you have a chance to listen to the mix when you export tip offline is just a quick export, right? Great. Include audio tail or just cut. All right, but I left some room over there for just in case there's a tail, so I'm going to leave it as is normalize. I'm going to switch normalized off. Great. Let's hit. Okay. And we're gonna say that is blessings. Blessings mix down. Mix down. I'm going to save it to my desktop. Bouncing. Right now we're getting ready to master these mixed up. See you in the next one.
18. Mastering - What Is It: Welcome back. Now it's time to master the mixdown of care. So what I'm gonna do, I'm going to select New File. Now Pro Tools, select audio, create, switch of the information tool. I'm going to try to mix down. Here it shows the edit audio file contains temporal information. Do you want to import it into this project? Import. The edit audio file contains markers. Do you want to input them into the project? Yes, Import. By that, it sets the tempo to the correct wave tempo. We're going to go straight to the loudest section of this track. Before we begin, I want to explain real quick what is mastering? So mastering is the last stage, is the stage where we are preparing our mix for commercial release, streaming platforms, all that good stuff, okay, so in muster and basically we're doing tiny adjustments to make the mix sound more clear, more punchy, more louder so that it sounds competitive with either commercial releases. Okay, So here we're not fixing anything that's wrong with the mix. If you feel like something is too loud in your mix while you are listening, please go back to the mix and fix that, and then come back to the mastering session. Okay, here we're not fixing, we're just making the mix sound louder, punchy and more professional gear. So the first stage before you apply, and if he freaked, you're just going to hit you up. Space button. Play. Don't do anything, don't add anything. We're just going to play, listen to it. Addresses the classroom. Rather than blesses. They never stop Your arrested bit. Yeah. For sure. I take the baggage and then I go to bed at his desk from laterality deserving, I charge a fee photospheric, get Prezi, then I get the Baghdad is our IV decimal, Marlboro is I joined it FIFO to get ready and these are the rock history. May I met him talk I was I said fake. It doesn't matter. They will still pay. This is crazy. A pair down his legs, breathe that when the song is not a drama, they see me. They want me. You don't meet with the word. All right. I'm pretty sure you can hear way too loud. And instead of trying to fix that in the master, we're going to go back to the mix and fix that problem. So in mastering, we're not fixing where enhancing. So let's close this project. I wanted you to see that so that you get my point. When I say, we're going to go back to the mix if there's something we don't like, yeah, I'm gonna open this project again. This rock is made and then I'm going to open the mixer and then write down the snare. And this one is rocketry made and it still, does, it. Still paying is crazy. He exerted way too low. Let's increase some of the volume in this walk through. And then M dagger was there. She is. Crazy. Append flag is breathe. All right. Let's go back to the distortion on the keep track. Interests that drives this rock is made and then, and still is crazy on a pair down his legs, breathe. The wind doesn't blow. Dry lab. All right, one more point I forgot to mention. Okay. When you export your mix, make sure you do have headroom, at least minus five, minus six headroom. That's de-center k by headroom, look at the stereo out. As you can see, my mix is peaking around minus five, minus six dB. Okay, The rest is headroom for me to master this song. Okay, so let's export again. I'm going to go to File and bounce this. Again. Projects section. Settings are still the same. I'm going to bounce to the desktop. It's going to ask me if I want to replace the already existing file. I'm going to say here, replace. Okay, great. So always make sure that you have headroom. Your mixes know too loud to a point where pi you can even monster. Okay, So let's close this project. Opened the mastering one. Listen to it, right, just to make sure that Logic Pro replaced that file, I'm going to go back to the mixdown, rename it, and just add a two at the end, okay, to open this project and just drag it. Right? So the first adjustment we're going to do to this Shrek best list goes straight to the loudest section of the track are Suzhou of the input. So going forward we're going to start applying effects to these mixdown. So in the next lecture we're going to start applying EQ to remove frequencies. We don't need to boost if there is a need or cut some frequencies if they are too harsh in a way. Okay, so that's it for this lecture. I will see you in the next one.
19. Mastering & Final: Welcome back. Now, it's time to master his truck. Okay. The first thing we're going to do, we're going to remove the low end, which is anything below 20, 25 heads, would be chopped off. Reason why the human ear cannot pick up those frequencies. So if we leave them that it might cause some rumbling effect on larger systems. So I'm going to go to EQ, linear phase EQ. We're going to chop off 20 heads. Okay, let's narrow it a bit. Great. To 20 heads cut. You can do up to 25, but preferred doing twin T heads. Okay, great stuff. Let's play British or you don't hear any change. Okay, so the next thing I'm going to do, I'm going to use this bell 20 over yet. It's narrow it a little bit. I'm going to try to locate the frequency with these dominance in the Keq, looking for that low end punch in the kick. So I'm going to super here. We're just gonna do it 20 dB. This is mustering, so we doing subtle changes. Okay, Let's play without, with that boost, right Command, Save to save your progress. So the next thing we're going to do, we're going to use an image, a tool. So we're only going to widen the top meet and top frequencies. Make sure when you're using images, you are not widening the low end because the minute you do that, you messing up that low-end, you breaking it down when it's supposed to be at depths into frequency like you kick and base, they belong dead center because they are the heart of your Zoom. Okay, so we're going to go ahead and look for a stereo spread. Gay, great stuff here is it. Let's Play. I'm pretty sure you can hear that. It's messing it up. Okay, so what we're gonna do, we're gonna use this EQ tool or over year and start widening from some like 3.8 heads. All right. Too low it from the left-hand side, we're going to use the lower end, too low it from the top end side. We're going to use the APA in. Good. Let's play. All right. Let's go easy. I don't like widening my master's. I just do it just a little bit to widen the top frequencies, get switched off. Enable it. It sounds a bit wide-eyed, sounds more exciting. And you can see it's only widening from this point in the frequency spectrum. Don't mess around with the low mids and the low end when it comes to imaging. Okay, great stuff, control safe. So the next effect we're going to add, we'll be adding a comb progress. So I'm going to bring in a compressor. Since this is an introduction to mix it our own be using the multiband compressor, which is compressing multiple bands. Things can get a little bit messy if you're new to this stuff. So we're going to use the compressor which is compressing the whole signal with one compressor. Okay, Great. So what I'm gonna do, I'm gonna set it to Yom. When I leave it at something like 1.5 to one, I went to a very slight compressing. Let's do two to one. All right. It's to something like 20 milliseconds. I don't want that to be super fast to a point 0 bytes chopping off my initial attack, which is by keep the released, Let's make it fast at 20 milliseconds. Also, makeup gain is just to 1.5 dB. Switch off the compressor. Enable it. Alright, now the mix sound more in your face, sound more punchy, more pressing. Command Save to save your progress, right? Real quick, Let's finish off this compressor and see if an excite would work with this mix. Let's go to specialized excited. Guess or what an excited does. It just adds more Biden excitement to the song. I'll get great display. Crazy. That's a lot. Switch it off. So you don't have color 1 and color 2. These are two different modes for taste, basically, kilowatt. Kilowatt. Let's switch it off. So she don't like it that way you can hardly hear the difference and that's mustering, doing gentle adjustments. Okay. So I'm going to push it up, drag it up and make sure you see a line in between the plug-in so that you don't replace. The other one. Maybe does, is switch on the compressor, play. Normally when you have brokers on the mixdown around six K, five, K27, K and a is some harshness because there's a lot going on. You have your essays, you have your high heads, you have top frequency information. Okay? So I like to sleep around the top end, around 5 to 7, 8 K and see if there is a frequency we can do just to make it gently to the listener's ear. Let's play this one, right? Butt seven K, Exactly. That's 10, it down to just three dB. That's too much. Just to something like 1.5. Sounds good. So the next thing we're going to add is the last plugin, which is limited when I go to dynamics and add and adapt to limiter way you adoptive limited stereo to save. Ok, so what did limited does basically is to increase the overall volume. It's basically have you compress it but with way less buttons. Okay? So the game more interest again, the more we fit signal to the limiter, the moisture increased the overall volume. Okay, here is the input. This is the output and this is the amount of reduction happening. Like I said, it's a heavy compressor. Okay. So let's play. Over year, you have a ceiling knob. You set the silane to make sure that nothing passes minus 0 comma one. But I like to perceive, I'll do something like minus 0 comma two. Great, Let's play this go up when it comes to volume, little bit more. And in rows, the places that she pushed back east, places in Europe, 3.4 gain reduction. Let's go easy with the cilium minus 0. Right? We don't wanna go too crazy with the limiter also because it's going to lower our dynamic range heavily to a point where by its sum over compressed. Okay, So right now we have a muster. Let's mute. These plugins enabled them. Pretty sure you're going to hear that the mix sound loud compared to two. Let's listen to the overall mix. Bring up the mix. Again. I'm going to add one plugin just to monitor the volume. So I'm going to go to metering, multi-meter, get this is the analyzer and as play bro, the places they never stop going getting that she did that. She for sure. I take the Becky's and then an angle. I get the data that is best for fibro is president. Right over here you have your ADFS, which is a unit used by streaming platforms these days to determine how loud or how low the volume is. But I'm not a big fan of this thing of setting levels to streaming platforms. Just master you saw, make it loud enough to compete with similar sounding tracks and then export it meant because this thing of trying to make sure that the song is below minus 40 and sometimes can get you in trouble. You might listen to a song on Spotify black. Why is it a bit lower than our songs, you know? So I'm not into that a lot. But to be on the safe side, ADFS integrated the one with AI minus 14 minus 32 on the safe side. Okay? But right now the integrated one, which is the long term, the more the song plays is like minus 15. But we have introduced the loudest point of the song. So basically minus 30, minus 40 and thus the ADFS integrated to get. So I'll say for the loudness when decent area. Okay, Adam is limit play the loudest section, real quick section. Gosset's might not fit. For me. I want to make sure that I'm at least minus 11 in way back to the adaptive limiter, going to make sure I'm going to increase maybe one dB more. Write an ADFS integrated of minus 12 minus 11s. Decent for this salt stick to minus 11 minus 12 ADFS. If you saw it was peaking around those frequency, it will be loud enough to compete with ultisols. Okay, command safe. Limit, disable this multi-meter would done mastering. It's time to pounce these Moscow kip. So I'm going to show you the recommended settings. So stick to PCM, wave, IQ and then CDs, that'll be 16 bit. So we're going down in quality. The file type on interleaved. We don't want separate tracks which is left and right. We're going to leave it at interleaved, get the ring deterring Hebb's smoothen that transition from high resolution file to a lower resolution file. For example, we moving from 24-bit, two 16-bit, that downgrade in quality does have some impact. We're going to use power are number 1, D pairing, switch the normalizer off. We already have limiters and a lot of stuff going on there. We're going to stick to offline, hit. Okay. We're going to say, blessings must go in a bounce to desktop. And thus how you muster your music and Logic Pro using stock plug-ins. Thank you very much for enrolling in the course. If you have any questions, please feel free to inbox me. That's it for this course. And I'm out.
Sabelo September, Music Producer, Content, Web Design
