Mixing and Mastering your song with Cubase

1. 1. mixing and mastering in cubase intro Final : Hello and welcome to mixing and mastering and Cubist, which urea from Expedia music. In this course, I'll be explaining the whole mixing and mastering process from compression, DSM, depolarization and many more will be mixing and mastering our project song. For this course, this course is going to be more interactive and intriguing. Look forward to seeing you in the course. Best regards. 2. 2.Umixed project song: In your shots as a project song for this mixing and mastering course. And I would like you guys to hover listen to it. And after you finish listening to it, we can go straight to the mixing and mastering process. Let's go straight to that. Now monopolies. And yeah. If a mother in some way. 3. 3 Workflow Breakdown: In this section, I'm just going to break my workflow down so that you guys will have a feel of the whole music. Yeah. So if you can see I'm starting from the top and we've got our kick over here. This is a kick. Kick. I'm joining me with a high hats. Then we have asked in it as well, submarines, Tom's, the chyme starts from the very beginning. You can continue by that is a chiral starting something like this before the workout comes in. We have our times over here, and then we have some clubs as well. So the clubs comes in somewhere around this section. Then there is a particular beaks for the verse ended up particular base also for the kurtosis. And solve the points sum of the parts of the bases in place. So just tell me feel a bit. So our piano starts from the very second parts of the whole song. So it can have a feel of the piano over here. We have some pizzicato as well. So going in the song, there is an intruder as a saxophone in shortcoming in, before the vocals and the piano and order stuff coming in. 4. 4. Mix Preparation: In this section would have to prepare our mix, would have abrasion process counts with route and our ethics channels. Creating subgroups would have to create our buses and all that yeah, and groups and to keep our work very organized and it's going to help the workflow. 5. 5 Creating Drum Bus: Currently we have our project nice and clean over here. So let us just go straight to create an R sub groups from top, working from top to down. From top, meaning we are going to work on the drums are similar. We'll be creating our drum bars and everything before moving downwards. So let's just go straight to create an eardrum buzz or incubus. It is a drunk group here. So let's just create our drum buzz and then move downwards for the claps. Be treating them separately. So I'm just working on the kick from kick to chimes. I'm just going to put them into drum bus yesterday. You just make sure you select everything and then just go and add shock and come to group. Here, this is what we are willing for. You are going for group. So it's a linked group and a mixture. The configuration is on stereo, and also the output is also on stereo is very important. Now we have to create it outside of Furda. It's very important that we have it as a truck. So we have it outside the folder and then you give it a name as you name it us, probably unless see our drum bar so that those who are coming from different DAW understand, this is our drum group or a drum bass. After the budget is created, you realize that there's nothing happening. If you click on Play, You didn't get anything happening as in there is nothing happening. You can see that when we salute, sorry if we have to solo this drum group or this drum bars over here, you see that there is nothing happening when we play, it is very, very silence and nothing happened. What we have to do is you have to route our drums kick from the kick to the chimes into this very bass to this bass drum buzz overhead. It will be a good to do now, I'd like to change the color of the bus to properly. This can appear pool or in how you call it. So we know the difference between our biases and then our effects in all that. I'm just going to select this. And then when you come to the section, you see the output over here. Make sure you select drum bass. There you out. But Radha drama, I'm just going to select the drum bass overhead. Now there's another way of doing it. You can just go on the EE button over here, the Edit Channel button over here. And you can also go to Output section. You can see this arrow over here. This go to output. You can also click this section and have your grumbled drum bass overhead. Yes. So this is another way of doing it. You can just do it this way. Or I prefer doing it this way because I see a lot of time. So we have to repeat the same process for the snare and the chimes. Currently, I've got the drum bass. I have routed everything to it. The moment you solid the drum bus, you can see that all the drums section, we'll be playing together. So let's go, let's just demonstrate that so that you guys who have a look at it, Go on this drum bass over here. I just want to make it a little bit bigger. Sec unmuted. The drum goes out. When I went to play at the moment are muted. The grams goes out and then they will mate. I solo. The drums play Normally. When I solo it this way, the mucus activated. That's why when isolate this week, the drums who play where I take it off. I'll be creating a different bars for our clubs. These two clubs over here, if you can see them. These two clubs. Wanting to, the highlighted section, I'm going to create a bass for Dame. Create also a bus for my bass guitar. The two of them mass in the A3, there is a slight ways as well. It is a slight base. Slide-based over here. I'm going to create a group for all of them, as in the bass for all of them. I'll be doing also a different bars for the PC cartoon, for the saxophone, the pianos, and the different bars for the guitars. I just want to do all these biases and come back to you guys since I've already explained how to create a bus, I think you guys can follow along and just create the boxes you're on your own. 6. 6. Creating Guitar Bus: For a guitar section, I'm going to have two different groups. I'm going to have my reading Guitar group and my leaky tile group. Yes. So just take that into consideration. That means you're going to create two different boxes for that. One for our rhythm guitar and one for our lead guitars. Guitars section. We've got two sections. This is the lead guitar. I just wanted to change the color so that you guys who have, you know the difference. This is lead guitar and order trucks over here. Does that guitar folder in your shots? This is our guitar folder. So from this section, the section is our rhythm guitar and only this truck, this very truck, the lead guitar. So I'm just going to create a group for this very one. You just go on and go on group. We created outside the folder, name it lead guitar. We just have to name it lead guitar group. You just go on art. And thus all we have our group for guitar. We have to route it quickly. You just go until it gets out here. And guitar groups, so this one is routed to this, these ones, these ones will be routed to a different channel. Different GitHub has. Hope. You get my point. So we're just going to add one guitar, bass over here. Probably are added at a later section so that you can have a look at it. Named this pass, our rhythm guitar boss. That is our rhythm guitar bass. And you can see that there's a separation between that. We have to channel all these ones to this bus. 7. 7. Mix Preparation overview: Like to give you a quick overview of our workflow or the mixing preparation section, I'd like to give you a quick overview of that. Now what I did here is I've created groups for the drum bass. We've got our group created, and that is this line over here. As you can see when I collapse the drums, you see our drum buzz overhead is our drum bus for the drum section. These two clubs, I've got the Abbas and that is our club buzz. You can see the other vertical lines over here. This white vertical lines. Line over here is the bus, the line for the bus. And then we've got going on here is our bass, bass, guitar. I've got his own bass, and thus it. And we've got our piano bass. There's a piano bar over here in your shots. As you can see, this is the piano bass overhead. We also have our pizzicato bars are the same bus. The bus over here, you've got our saxophone bars as well. For this two saxophones, because I played him on a different track. If it were to be on one truck, I would've just use the truck for the mixed bag. I don't want to do like multiple plug-ins. So I'm just going to explain why I'm doing things this way. We've got our guitar folder and we have our boss for our linkage cytosolic guitar here. As you can here, let me just play the lead guitar for you guys. This is our lead guitar. Lead guitar, rhythm guitar, or you didn't get that. So I've also got their own bus. This is the rhythm guitar bass, and then this is the lead guitar bass overhead. Now I guess, I guess wanted everything to be there so that you guys can see it now, the next thing I'm going to do is I will be moving or the bus to the downside to this very group this group truck, I'll be moving all these buses will move into him this week. Move this one here, move this one also here, so that I have all my bosses. One particular section. I just wanted it for demonstration. Sec had to do that so that you guys will understand what I'm doing. So I'm moving all of these boxes down here. I'm moving it down to this section. I'm going to do same for all the other buses as well. Yes. So this is the whole overview of the buses. Now we'd have to move straight to our FX is also part of our preparation. We have to create our effects in for this very truck or this mixed yet it's part of the mixed preparation section. So let us go straight into that. 8. 8. Importance of Bus: There's an explanation of why I created the bus. You can see that from this section I've got all the buses over here. They are in this folder. When I collapse it, you'll see all the buses are the boss who created all the groups we created. Now, we have them line up over here. So if you want to play probably there at the pizzicato, we just have to solo the pizzicato, pizzicato audit to specific artist. We will play in. Depending on where exactly. We can also add the saxophone tourists and the two saxophones should play the rhythm guitar also should play a little guitar. So it's like the whole mix is going to be controlled with just probably 123456 or seven let's say seven trucks. Yes. So we are going to do our mixed within seven trucks email. So it's gonna keep us organized and it'll save us a lot of time as well. Yes. So if I solo everything in this group, you see them playing together. So the mixed process becomes very simple for us since we've got our trucks lineup of I here, we are. What are subgroups or the buses lined up over here. So if you want to solo, just say probably we want to solo the bass. We can just follow the beach by just going this way, just good solo. The bass should play automatically. I can control the whole mix. Lactose section of the hood of the mixer sono do have to go back and forth. It is only when I went to treat particular instruments like I want to pay attention to one particular chalk. Your doctor, where I can go to the truck and work on the truck. But in the whole mixing protests, I'm just going to work in around the 16th. And he's going to make our workflow very, very simple and short for us. Yes. So let's just move straight to the next section. 9. 9. Drums Mix - Kick: With a drum mics section, we'd have to start with the kick. And the kick is also very, very important in a mixing process. When I get my drums balance, the other instruments can come in as supporting instruments, so I like to work on the kick first. And the very first thing we would like to do on the kick is a compressor. We just have to go to the edit settings. And that is where we are going to pull a compressor. It will be pulling a compressor. This section, you just started compression. I think everybody, I've got this compressor in his cubist. It will be at choosing the very first competition over here is not multiband compressor is just a normal compressor. I've got a preset of IS exhibit music, heart kick. I'm just going to launch the presets and we'll be working around that prescience. Okay? Let's just listen to how it sounds and then we will work around the presets. Based on the weather, KYC wars. I think I'm going to leave everything like that I'm doing in attribute of about negative 21 and you can replicate my settings over here. Now I've got a saved template file of this compression I just did. You can just watch it and just compare it to your truck as well. It is what I'm gonna do for my mine compression on desert kick, cool mixing process of back and forth. Then, you know, you have to go back and forth, back and forth. This doesn't mean, it doesn't mean that this is our final mix. This is a starting points you are preparing our mix. So that's why I'm doing things this week. After we'll come back and forth and balance things to suit the song we are mixing is very important. Normally we should have our reference struck. But I'm not going with a true reference truck because I want you guys to understand some of the things before we come into using a reference struck yet. Let's just go straight into that. 10. 10. Drums Mix - Kick Eq: Next plugin chain is going to be an equalizer. Bent without one. We're going to do it with a channel strip. Yes, we are going to do that on a channel strip. And I'll be introducing you to the channel strip and cubics as well. So let's just move straight into that. There's also this channel strip looks like you can just find it over here. You can get it in the trucks in the form. Probably if you wanted. This section also, you can just click here and you should get a channel strip over here. We've got a noise gate, compress are an EQ. Got some tools over here and then saturation and the limiter. But we're just gonna focus on the EQ section just for the kick with a kid who focus on the EQ. So the same thing over here. You can find a QS wall. So it's the same EQ. This EQ is the same as the EQ in the channel strip section. Yes. So everything we do over here is going to affect the other one as well. Yes, So let us just go straight into cutting some laws with our cake. So let's just do that quickly. 11. 11. Drums Mix - Kick Eq : The very first thing we're going to do here is to start at our drum mics and boost that with a kick. Kick in our sawtooth over here. And as you can see, just going to work on a kick on the insect section, meaning wouldn't be doing it on the group. But the very first thing we're going to do over here is to apply a compressor over here. I'll go in for a normal comparison in Cubase. No more compressor. And I think you guys should also have this compressor. I've got my preceded by a quarter presets. It is always good to start with a preset. So let's start with a preset. And then after we tweak things up, we tweak things. And then I'll also explain how things work, as in how I'm doing. I'm working on stuff yet. So let's just start with my presets for my kick. And I'm doing a threshold of around negative 99.9, we will be changing things up depending on what goes on in a mixed. Let us just go through this whole mix. I just want you guys to listen to the song without a compressor and with the comprehension. So I'll be bypassing the compressor. So let's just do the bypass first. I'm just doing it right away. It's off. Let's just listen to it together. The next thing on our plugin chain is going to be our IQ Laser and we're just going to cut some loss. This is just the preparation suction and it will just cut some loads with a collider. So let's just go straight to that. What IQ section, we're just going to use the IQ EQ in Cubase wouldn't use a plug-in for that. So if you come to the channel strip is the same thing over here, the same EQ, channel strip section. We'll be using the same EQ by what we are going to do is just cut some laws just to keep the low-frequency a little bit organized before the base and other stuff coming in. It's just a preparation section, will be changing things as well whilst we proceed. Let's just listen to it and try to cut some loss. I wouldn't be talking about this session, but I'll be cutting some loose form around this section. As you can see over here. Probably around 50 heads or something like that. Yeah, not so much loose because we really need those frequencies as well as Charlie metrics section, which as you can see, the kick is within this range. Let's let me just play it so you guys can have and look at it. You see the frequency spectrum over here. Most of our kids up in an ironic section, we're just going to cut a bit of this section. We don't keep our music so muddy. That's the main, main focus of this mix. Would have to just cuts, just cut some, some, some lose a little bit. So you form some kind of lower is a bit of a lower mid frequency kind of thing. So we just wanted to cut it a little bit around this section. Let's just listen to how it sounds with the EQ and then without the EQ. So I'll start first without the EQ after bypass the EQ. We listened to it. The changes are not so much, they are just little changes, but we will come who will be just a mixed preparation. So I'm just going to leave this quick test statistic and then we'll move forward straight to the next instrument. 12. 12. Drums Mix - Hihate : Hi out section of the drums. I'll prefer we use a preset from the compressor. So let us just look for a compressor from this section, we'll look at compressor here. There's our compressor. I'm just going to use this compressor to alter the whole drum section. We get used to uncompressed file before we move forward to the compressors and what achalasia, we just look for any cannot pump your presets. You can see there is an appreciation of what he called pumping drum overhead. The presets were made by professionals is a good starting point for you. Whilst you proceed, you can track things around to suit yourself as into sued the music you are doing. So there was no problem using presets. Everybody use presets, professionals and every, everybody uses the app made for you, for you to make things very simple for you. So you don't have to always navigate through the whole thing. In a modern world and we have to work very fast and very smart way as well. So using the preset isn't the problem at all here. So let's just listen to how the preset sounds on our drum. The next step is to use an equalizer and we are going to use a preset from glider session. So you just load your presets over here. And I'll be going in for the basic hi-hats kind of presets. I've just been working around this distance. You know how the frequency ranges as in-depth frequency orange works here. I have two moles over time and higher frequency cannot section, so you don't really hear lower frequencies. The momentum study or in lower frequency is going to make your music very muddy. So we would have to take that into concentration. So let's just use this presets and work on the song and then feel how it works. So I've already been talking, already been talking about this session so that we all can listen to how their heart is behaving. This is just a preparation section, so it's not like a final mix here. We're just getting into some appropriate for the final mix. Let's go. 13. 13. Drums Mix - Snare : Regards to our snare drum, we're just going to do some compression on it. We'll be using, the compressor will be using over and over, and we should go through the presets and then let's look for something like a snail. Probably snare drum. We've got different options over here, but I prefer we use the snare compression to just listen to how it sounds with other snare. Asked him with other compressor and with the compressor. For us to move a little bit faster, I'm just going to initiate another equalization owned on this snare drums. Now we are going to take one of our presets over here. Hip-hop snare drum to, should be fine for us for now, would have to bring this frequency. Now a little bit. My new list preparation section, it's not like a final mixed, so don't get worried at all. We'll get to the point where we'll be mixing zone just puts into mixed to a level where we can work things out to make it very nice. Yeah. I'm launching, I guess launch this presets. As you can see, you can just load your preset over here. I look at this one and I think it sounds nice with the snare, so let us see them together. 14. 14. Percussion mix - Tamborine: The next thing on our list is the tambourine. When a tambourine, I'm just not going to be doing a lot of things on LET. Here we were using percussion one on the compressor section for our tambourine. So let's just listen to how it sounds. 15. 15. Drum Mix - Toms: With regards to the Tom section, would have to do one compression. In this section, we're just going to use a multiband compressor. And in our EQ as well, just like we have been doing to I've already done that. If you can stick, this is what he burned. You just have to add it as a multiband compressor is over here, you just selected and you look for the preset Tom. The preset tone is our preset for the day. Thanks a lot for watching and see you in the next section. 16. 16. Percussion Mix - Clap : Next instruments is a club section. Now with a club, you're going to work on it on the bus. 16 wouldn't be put into plug-ins in the insects. But right now we are moving to the bus. Remember, we created a bus for the club section. Now we are going to work as an applied the plugins added bar section, as in the bass struck or the group truck, as you can call it in Cubist. In order DAW is called a bassoon, would have to locate our club pass. And we have our club as a virus or Club Bass. These are Columbus. What we'd be doing here is just apply a multiband compressor and probably an EQ, but I don't think an EQ is going to work overhead. I don't think an EQ will wick overhead. What we're going to do is we just look for listener canal compression. Cannot deny like this near it was a club. You're wet like this near you do it is morphine in the mid frequency range. And he had some low end up Apache weight as well with the witnessed nourished treated in the compression kind of way, your club can also fit within it. So he just listened to how it sounds. If it sounds good, You should be good to go with a compression. And without the compression. 17. 17. Instrument Mix - Piano : The next thing is gonna be our piano, and we are going to do that as we are going to apply the plugins at the bass section. So if you could remember, we created a boss for the piano. So this is our piano bars over here. And we are going to apply compressor and if possible, an equalizer. So these are the two things we'll be doing. We're going to use the same compressor we will be using over and over with an equalizer. So I'm just going to launch the compressor over here. This is our compressor. So let's look for the piano preset. I think you guys have got it. Just launched the ballad piano presets and less work things out from this section. My preferences to be mixing the kick together with a music because I know what I did. I don't want to mix everything singularly. And when I put them together, that is where I find problems and all that. So I went at worlds, I'm working and progressing from the kick and snare. I go on and on. It doesn't sound well, I just kick, kick it out immediately. You know what AQ suction will be choosing our bright piano preset form for the EQ, yes. So it is a bright piano just located and choose it for your EQ Wallstreet, we will progress in the mixed. Yes. Let's go. 18. 18. Instrument Mix - Pizzicato: Our next instrument is a pizzicato. And out off to bring the level of the keyboards us in the piano a little bit down. So now we can hear that pizzicato walls. We work on the syllabus because intraday pizzicato with the piano lesson together with a whole bit. Let's go. Next instrument is a pizzicato, and we are going to work on its other group section as in the bars session. Yeah, down here. I think we worked on that. We have our pizzicato bars over here. And that is what we are going to apply, the effect of compression on it. And just look at the pic and guitar one presets and choose that, that is what we are going to be using. I said that is our starting point. And then with a colorization would have to do it ourselves of I. So that's what we are going to be doing. Now. Let's move straight to the colorization section. Let's just EQ pizzicato right away. 19. 19. Instrument Mix - Saxophone: There's an intro breaths us in an inch true saxophone and then there is some canals. Most Muslims front plane. There's an old project, so there's two issues we have to fix. That isn't a problem, is just for demonstration sick. So don't get worried a sound. And I'm also recording widow with the software and the sound qualities and the same as rendering from my PC with a saxophone, we are just going to work it out. We are going to work sucks bass section, which is Section, and that's what we are going to apply. Some compression, probably how this presets already email or Cubase. And that is the brass compression one. So just select that appreciate unless work things out with. 20. 20. Vocal Mix - Lead Vocal: The mixed of Mr. work on our board with a varchar and I lead vocal. What we're going to do with the link for car, if you're going to use a channel strip for the lead vocal. And as you can remember, we created a subgroup for the lead book art which saw bus. So you just go into Bus section, just click on the channel strip overhead and we'll be using that noise gate. In your shots. You have the noise gate over here. We have a compressor. And in an EQ, these are the things we'll be using over here at this moment. Just see that the noise gates as a normal gaits in your house. You don't you open it and allow people in as in when you want to. Yeah, it works like that. You can tell them, Hey, come in this section, don't come in at 16. So you told the kind of frequency as in which for questions to come in and which frequency shouldn't come into your mixed? Yes. So that is what the noise gate does. It takes the noise the noise come from the background section. A lot of noise in your background. You know what a noise gate is going to help you get rid of all those noise. So that is the use of the noise gate. This succeed you worked like a compressor because it has got issued and the ratio and then they attack US. You can find it over here. And then there was a frequency range that is where used to determine the frequency you wants to allow in your mixed. Yet, we are going to use this one, use our compressor and the user equalization for the Wacom mix in this sucks and I wouldn't be talking so that you can follow along while I work on it, is I find are mixed. We'll come back and I can explain things as well. So let's go straight to that. A mother you didn't know before you're ready. You didn't know before you say Mother. If you didn't know before, you're about ready to finish. Way you see that? You didn't know before you read it. You know. Are you ready? You ready? If you didn't know? Before, you're ready to see the true. This section, we're just going to bring one compressor inside our true insect 16 available costs. All we are going to call him. I don't know. Welcome press. I'll be using for for the time beam. Yes. For the compressor you'll be using. Yes. So let's look for probably broke all live recording your face. I think he should have this presets in your Cubase. That's what we're going to use. Let's just listen to how it sounds together with a mixed. Didn't know. Before you're ready to see the truth. You didn't know before you think mother. 21. 21. Lead Vocal Mix - De-esser: The next blogging on our chain is going to be a DSR. And up the DSI is going to take out of the out of the book haul and that's why we are beginning in here. Yes. With a DSR, we're just going to choose our female broad very presets. And it would have to work things out around us in play the song and listen to how it sounds and we just belongs things. Yes, it, so that's what I'll be doing over here. So just, just listen. Waltz would do together. As you can see other section, I want to stop playing the song. You, you see the little red button, red corner frequency coming down over here. Just watch on your screen and you see it. This is the amount of compression happening owned our vocal by using the DSR. And this compression is happening just at a higher frequency, Let's say probably between 4.8 K to like ten points, 10.7 or something like that key. Yeah, probably 10.3 key yet. So this is what, this is the amount of compression happening on the higher frequency of our of our vocal? Yes. The SS, that this kind of stuff. That's what we're working on so that we don't end up, you know, it's sometimes it gets annoying when it's too much in the song. Yes, that's the main purpose of our compressor and we can even use a multi-band for this purpose, but I'm just using this normal DSR so that we get things done very simple and nice. Let's just move straight to the next section. 22. 22. Guitar Mix - Lead & Rhythm: Regards to the guitar section, we've got different than going on over there. I play some, start a perfect guitar, but we can just manage it for this mixed. What is going on on the guitar section is just a normal compression. There's a clean reading guitar preset from the compressor here we're using from the beginning, it does the same compressor we are using. We have that on our guitar. We have some EQ also going on over here, which I chose a preset. Yeah, I think I chose a preset from the EQ section. Sorry, I choose a preset from the EKG, that is a caustic guitar. Pick the ear. So I'm just going to bring the high-frequency little bit down so that we don't get so much of the height in. This is a preparation section. I just wanted us to use some presets that is available in everybody's Cubase. You know, that's why I'm doing this. But later on you You understand me when when we get to the final session of this mixed? Yeah, so this is what I'm doing on a guitar. We have to plan a guitar us in POWER9. I think you already noticed not a beginner course. So it's muzzled attains already be saying anybody if you see it are hopping in. That means we are doing it is just like putting their song, probably even playing his guitar. And I wanted to find his guitar over here. This guitar to the right section, that is what I'm doing. To the left section. They're punny is just pointing to the left and to the right. That is it in the end. The stereo section is when it is in the middle like this. When it plays in the middle like this, that is where you have your stereo section yet. I just wanted you guys to understand what I'm doing over here. 23. 22. Vocal Mix Backing chorus: The backend cross-section. Just going to launch our compress over here. If you can watch on your screen, I'm choosing the same compressor. Just go for the presets back in Bukhara. That is what you are going to be using. And I just go into work. I wanted to threshold a bit. We'll be using the threshold. So we are going to work on the threshold a bit. Yes. So let's just go straight to that. This is our compression for the buck and Bukhara. You can replicate the whole setting since you have the preset already is a proportion section. And if I probe mix of mastering engineer, you can skip this section. This session is just for, for beginners and intermediate friends, those who were coming up. I just want them to get familiar with the presets and the worlds that get familiar with the preset that you understand how things work in Cubase and any DAW as well. Now, the next thing we're going to do here is to art our equalizer on it, on our, on our vocab. So the bucket book haul is what we are working on. This is the equal light glazes and sexism, as you can see over here. I've already done something polarization over here, but I'll put it I'll put it in an off. So what are you guys will appreciate the work being done on it. What is going on here is we have a look at the look at it just like cotton, it's moving. This way. You can do that if probably you have everything set to neutral like this, probably heard everything like this activates the low-frequency and activating it. You can just move that a little bit. And down here is our second frequency, so SNR, mid-frequency. I'm just doing a look at the lookout to just like picking out the low-frequency out of the whole mix. That's what I'm doing. I'm not doing anything extraordinary here. We'll come back to the point where it will be fixing immediate things. And then this is the higher frequency. I didn't do anything matchup. I'm not cutting the height as well. I'm just going to leave it like this, just a little bit of boost over here. And I think we should be fine here. So let's just listen to how it sounds with the backups. 24. 23. Bass Guitar - Mix : We have the bass guitar group that is a bus that is overhead. If I suddenly base, you can't be spleen, there's a keyboard, but if I solo the base, you should hear the bass blink. So it is a base group. I'm just adding the keyboard so that we have a little bit of vibe. We have a little bit of a vibe whilst we will work on it. So I'm just adding a keyboard as in the piano. What I did over here was a street based compressor presets. I didn't do anything to it. I just chose it. Probably work around the attribute, but would have to play it and listen and work around that, the Treasury. So let's just go straight from there. 25. 24. Mix Preparation - Step 1: I didn't know. And it was 77? Yeah. Right. Mother, dad. Dad. No. Hi. 26. 25. Drums Bus - Compression: The maximum you're going to do is to put some kind of compression on our drum bass. Drum bass, if you remember, we created a bus for our drums, and this is our drums, as you can see in your short over here. Whereas the drone, this is our drums. We have our drums here in this folder. That is our drum folder. The momentary collapse, It's UCR drugs over here. We have it linked to a bus or a subgroup, if you remember. So we have to work on that, compress it a bit. Have to work on the bass section. Yes. So if you can see in your shots, this is a drum bus and we will want to look for a multiband compressor. Multiband compressor over here, there's a multi-brand compression and Cubists. I just wanted to look for something like drums or something. Let me just go to drums. Drums, one drum. So I'm going to select two. Let's see how it sounds and we can just have two trig things around over here. Let's go. This momentum like that. We are drowning sounded and I think we are going to leave it like that for the very first time. The next thing we have to do now is to go straight to the next section, basically listening to the drums as the drum bar, the compression going on over there. I think I like the way it sounded based on the type of music. Do we add anymore of a raga tone, kind of thin and model the time you want the drug to be very punchy. We have to take our subnet into consideration as well. Yes, So we wanted to punch drum it pointless in there. And you know, a little bit of high-end. That is a bit pointy. So it's like a rug or nothing we are doing here. So I like the way it is sounded and we have to leave it like that and move straight to the next section. 27. 26. Drums - Reverb fx send: In this section of the Mick's, who'd have to create our drum reverb, vocal reverb, and then our instrumental reverb as well. So we are going to create three different reverbs, one for the drums, one for the vocals, that is the Vocoder lead vocal. And then we are going to get one for each domain. So let's just do that quickly. In this section, we are talking about F accent. That is what we are doing. That is we are going to create our reverbs and delays. And that is our ethics st, Yes, we are, we are using our delays as f accent wouldn't be putting them into the insect's section. Six section, this section, because C, for example, that is the insets, for example, this section is the insects. You're not going to do our delay, so we will do our delays and reverb effects sent. And I'm going to demonstrate that soda. You guys who have a look at it. So let's do that quickly. 28. 27. Drums - Reverb fx send creation: To assign the ethics st, you'd have to right-click. I'm going to start with a vocal. So you just right-click and go to attract. Didn't locate a fixed overhead effects, effects. You just click on that. And we should have our FX overhead. So what we are going to do here is to choose the effect we are looking for. In our case. We are looking for the reverb. So we have to go for reverence. That reverb in Cubase called reverence. And it's a very good reverb. We will be using reverence for. That is it's this is reference. So you select your evidence that is a effect type and admixture. The configuration is on stereo. It's very, very important. And then after mixture, it is created outside the folder. So what are we have a specific truck for the reverb just like we did for our groups. Yes. So you have to give a name also to our reverb. So we will say this is our Volcker reverb. Like to start with the Volcker. What is our full Carl reverb? Reverb? Yes. For the workout where we are going to do two different Virchow reverbs, one for our buck and volcanoes, and one for our lead vocal. So let's say this is our lead vocal, lead vocal reveal. So let's rename it as lead vocal. Lead vocal reverb. And just go straight on art. And you should get it over there. Yes, we have another option to add two instances of it. We can just start to instance over here and get two times of this. Then we just go and rename the second one. But for the purpose of this lesson and for the sake of those intermediates and the beginners, I would like to do is separately, so I'm just using an instant, but if you're a professional, you can just skip this section. You just go on art. We should have our reverb reverb over here. I want you guys to see that's why polluted just been the lead vocal. That is an intro verse. That is why police it away. So this is our review we have just created. Yes, we have our reference overhead. 29. 28. BVS - Reverb fx send creation: We'd have to create a second one for our buck in Bukhara and we have to look at our backend glucose. Here's our walk-in glucose. We have backups and we just have to create our efforts in here. So you right-click the same process and just go on fx. And this instance we are just going to choose reference as well. But what would have to do is just rename it as our backend workout reveal. Backend. Volcker revealed is very, very important to distinguish between the effects so that you can locate them very easy to go back and read backing vocal reveal overhead. Just go out and we should be fine. So one, the effects have to be the effect, the type of effect it's going to be a delayed can be in your dye effects. But in our case we are just using our reverb and then we've selected reference. So you make sure the configuration is on stereo, the output, the audio arteries also a stereo is very, very important. We can choose a different outputs here. We can send our re-wet through a different channel or a bus before we go to the output. Whereas all we are doing over here, we are just going to leave its own stereo. Now, the next thing we are, we are going to do here is to make sure they're Furda is on its outside, creates outside food that is very important so that we have it as a truck on our Cubase projects here? Yes. And then you name it the Parkin walkout reverb and just go and add. This is how you add your reverse. So the moment you add a reverb, you see the rework appear here like this. And we have the ability to choose the type of reverb we want to use for this particular mixture. Let's just move straight to the next section. 30. 29. How to Apply Reverb through fx send : Since we've created our foci reverb. Now if we want to apply the book, I'll review what we have to do first is look at the lead vocal reverb bus to locate it. We haven't down here is very simple to look at because you created an outside the folder, so we have it here. And what do you have to do is you just go under Edit Channel button and then you go inside a reverb like this. You click the Edit button over here. And then you have your relabel where he know the moment you have the reverb, you have the ability to choose the type of reverb you be using. In my case, I like to use plate at three seconds, so you choose Split as your presets for this lesson. Now, we have it over here, okay, This is our revamp. If we wanted to initiate this reverb on our walker, if you wanted to work on the Volcker, you'd have to come to the book or truck. Or if it's a group truck, you go straight to the full car group. By in this case, I would like to do its own the truck the truck itself. So you look at the shock. Firstly locate a truck, and then you go on the Edit Channel button. Now this is the edit center button. If you come to the right far right corner over here, you see there is a cent and there is ACU center. We are not going to use a queue send, but Radha will be using the sense. So you go under cent and you click this section, then dislocate the leading book I revealed. That is why, that is why we had to name it so that it becomes very, very simple to identify. Or if we wanted to look at it becomes very simple for us. So you just go and lead vocal revamp and select it like this. And then after selecting, you have to switch it on because there is an activation and then the activities in the activation button over here. So we have to activate it. The moment you activate it. That means the reverb is going to function on this particular vocab. He goes beyond this particular truck. So let's just play it while she listened to the way that reverb sound. The amount of reverb is depends on yourself and this is where you choose the amount of reverb that should be, that should affect the Volkan is very vocal. We are working on this book on. And if we want to choose the amount of reverb that should affect this book, I would have to just do it by going to the section and just move the knob up and down, up and down. So the moment, the more you go to the right section, that is, that is you'll be having a lot of reverb on it. So just listen to its whilst I demonstrates, I'll put it in bulk. Yes. What are you guys can have a feel of it. So basically what I'm saying is that you don't have to use a lot of different reverbs on each of the trucks. If you end up with a neutron the truck, you'll be compelled to our tomorrow reverbs on different different drugs which is going to break your PC Dao and you see it IUD, enjoy your mixed AS, as you wish. So this is the main reason why we are using, we are doing the ethics in. Now. I'll be doing the effects in for the order instrument as well. Without one, I'll be doing a very quick but hard to explain to you guys the reason why we are doing this ethics into that you understand where I'm coming from. I hope you get to me and I hope you're having fun with this course. Mismo Street did in this section. 31. 30. Creating fx send for lead vocal: The next thing we have to do is to create an ethics and our lead vocal. Now this affects sand is going to be used for the delay section. So it's the same process you just have to go to are likely to be under the reverb for the lead vocal. So I'm going to click this section rudder. But you can still do it here and move it. Not to confuse you. Let me just do it here. So you right-click and just go and add. It's the same process effects for this book. I prefer a ping-pong up going in for a ping-pong delay. So you just go in the previous accident? Yes, choose Pink Pong overheads is the very first. I've got two different types of it, but I'm using the first instance. You just choose ping-pong and we should have our delay working perfectly overhead. Now to apply the delay on this truck is a same process. You just go to the section, a sense section, and just choose your lead vocal delay. You can see over here, clearly, this is our lead vocal delay. So just use a little book called delay overhead. And you just have to switch it on. And mixture sometimes only play it, you don't hear it, you didn't hear it. Like when I play layers. You can only hear the reverb, so you just go under solo section. Then. Like Bucky game on. Thank you. Ms. Works later. So if you can hear it, you just go into solo, come back again and you should get it. Now this is the amount of delay we are applying overhead. Let's listen to the weighted delay sounds without music. The point that this is not the final delay, I'm just showing you the way I said how to select your delay and how to apply effects st in this section, Yes. Now I'll be doing that for the subsequent ones. I wouldn't have to repeat the whole process all over and over. We have to save time as well. I know you also want to save your time. So I'm going to do all of these reverbs and delays as in the effects sense, and then come back and show it to you here. You can also practice it on your own. You can practice this on your, on your, on your, on your own. I've got a project files over there. Just select one of them. Try and add your reverb send. You can pause the video, try things around, try things, and then you come back and watch what is going on. It's very important learning by doing, It's very important. So our edgy guys to always suppose the video. Go back to your DAW, watch what is going on, comparisons and contrasts. You have to figure out you have to do it yourself and make sure that you really understand what we are talking about. Now, you can also leave your questions and comments in the message section and our hour respond to it. Normally, I respond to messages around in an hour or two. So, you know, maximum two hours I will respond to your message. Yes. So our edge you guys to always learn and practice, you know, what you are learning, I think is going to help you and it will take you become a very good music producer and an audio engineer as well. Let's move straight to the next section. 32. 31. How to keep your work organised : As a music producer, you know, keeping your work very organized, very important. As you can see, we have for this overhead woman, I collapse them. You see that this is the drum folder. I've done the same thing to the effect as well. Yes. So if you come today, instruments, trucks actually, let me just change the color so you guys got to have a look at it. This is the instrument truck. I said the instrument affects it. Yes, I've got it in their folder over here. I've created an effect seen for the instrument. These two things are the same. This one and this one is an instrument delay and the instrument reverb comes up, please them in a folder. You see I've got mine guitars or so in a folder over here. It keeps my work very organized and I didn't have a lot of things going on over here. Half the vocal fold as well. That is all my vocal kind of stuff. When I collapse it, the vocal is what is a wave. You can see that we didn't know vocal fold. I've got my my fx over here for that one. I'm just leaving it like that. I wouldn't put it in a folder. We've got a carotid reverb and the backing vocal delay over. The all comes under the vocal folder. So what I'm looking for them, It's very, very simple for me to find. And then I've got my drum bars also going on overhead. Now let her on our out-of to put the bass all into one section so that we can look at them. But for the purpose of this lesson, I just want to make things very simple. Swap kept it this way. Yes. Let's move straight to the next section. 33. 32. Lead Vocal Reverb Mix: This section would have to quick on our lead vocal reverb. Now, whatever lead vocal reverb, we have to look at the effects and you notice the lead vocal effects folder. When you collapse it, you're going to get your lead vocal reverb overhead. Once an eyeball reverb is the moment you have a lot of law animal reverb is going to affect your mix. And he's gonna have problem with your bees and you're kicking those who are new to mix it. This is 11 big problem lots of youngsters face, especially those who want to learn how to mix and master. Now, the low-end is very, very important. So with a reverb, you always have to make sure that you cut them loose. You can see to cut the loss, you come to the low-frequency and it makes sure you put it on over here. Mixture or you go on high pass folder the hypothesis, just like seeing that. Okay, let the high Km and pass through walls, we mute the low. So it's just like an openness. When I say lowpass, don't miss, I want to make sure that the law comes through. When I say high-pass, I'm making sure that the height comes through while the load goes down. So when you want to use the high pass one or two you got, it depends on what you're doing. If you want to cut more of the laws, you can use a second one, but I prefer you use the first one. And then you will have to cut the loose by just moving this low-frequency somewhere, somewhere this was altered. To do that efficiently, you'd have to play that song itself, the wall. So you do the song, Gus, and whilst you play the song, then we will work on it. So let's just cut our lows. And then also make sure that we treat the river very well. Because if we don't do that, it's going to affect us in the mix ENT. I just wanted to make this clear to you, the beginners, the professionals, you can skip this video if you think you know this kind of stuff already, you can just keep it here. This is the main reason why I'm trying to cut this Lucilla, just demonstrate it whilst we will listen to the vocal with a revamp up. 34. 33. Lead Vocal Reverb fx Mix - Stereo Enhancer: The mixed and our plugin chain for the lead vocal reverb truck or the bus can be VUCA reverb bars, our stereo enhancer. So we look for a plugin called stereo. Now answer. The next blogging is a stereo enhancer. Now what is Stewart announced that does is it's widening the Vauxhall. It is 100% over here as you can see in your shots. So probably if I went too wide it more, I can also send it to set it to mono or probably two stereo yet we are working in stereo so we don't have to put the mono own. We don't need the mono for anything. Now, when I stopped playing that this vocal, I can you see how it works, especially for beginners, I'm doing it because of the beginners who are into mixing. Just listen to how this plugin behaves with the reverb. And we have to widen our reverb or bits in the stereo field so that we don't end up widening the whole music. You know, sometimes you don't have to widen the whole mix, but just the reverb will do a bit of magic to the mix. So let's just listen to how this particular plugin works on our vocal reverb truck. Let's go. It. 35. 34. Backing Vocal Reverb fx Mix: We have to do the same for our back-end book or revamp or instrument reverb and, and order reverb effects trucks. To make things very simple, you just have to save the preset. Just like I said, we have to work smarts and work very fast. You save the preset by just go in here and then just go on Save truck presets. So you have to name it as probably probably let's see, our reverb reverb truck presets. Yeah, let's do it like that. Probably are reverb bass presets here. And then just go on. Okay? And then we have it, we have it here. So if, let's say we want to do same on our buck in VUCA. This is our buck in Bukhara web. We have it over here. When we go to the bucket book, our section, which is around this section. And if we want to listen to the amount of reverb on your back in bootcamp. We can just do that by putting it on a truck or probably on the bucket book R group, which is awesome. So let's, let's just demonstrate this by just putting some rewards over here. These are kouros, we have it already. So we put it on just for demonstration sick. I'm doing this for all these two trucks. Normally I do that on the bus. 36. 35. Chorus Vocal Reverb fx Mix: We have to just locate our cross reverb. There's a back-end backups and then we have a reverb assigned to them. You go to the Edit Channel, certain this e button over here. Other effects section. What you have to do is you just go to the load section, go here, and that is a precursor to just go and load truck visits. Remember we had our presets and then we named our presets. We named our preset us reverb bass presets. So you just select reverb bus presets. And we should have it working like earlier so we don't have to do everything all over again. It saves you a lot of time. We don't have time. You have to work smart and very fast as well. So we have it here. If there are some small changes, we just tweak it and change it up and I think we should be fine now. So we are going to do that. Repeat the same process for all the reverb section because the point is, with reverbs, you always have to cut their losses. Keep it in mind that we'd reverse. It's better you cut the laws. Because the moment you don't cut the lotus leaf with a reverb for a vocal, a reverb for an instrument like a piano or something like that. Sometimes they're low frequency, It's also good. Sometimes it depends on the type of music you are doing. But in this case we'd have to cut low. So if you are doing a different type of music and you prefer having your laws, that kind of orchestral heavy reverb thing. You can do that. But you still have to cut them loose. Like you're up to your ET heads? You have to you have to cut it. Yes. So I'll be repeating the same process for all the reverb effects trucks. And then after I'm finished, I'm through with that. Come back to you guys. 37. 36. General Mix Balancing: All right. And it was Niamey day that day. Went on Way itself already know the volume. And a mother. Where are you wearing? The mother? And it was 77? Yeah. I'm your mother. The way it's already know. It's odd. It's volume. Mother. Mother finish nine. Where are you wearing? Mother fan is nine. And it was ever found? No. They have a thing where um, no. I'm Sarah. Where are you? 38. 37. General Mix Balancing 2: No. I've already taught volume around a mother finish line. I'm wearing a mother. Mother away. Hi. 39. 38. General Mix Balancing 3: Yeah. Anyone? Yeah. It's dead. In a death. Hello. No. I didn't know. Where are you? I didn't know. Mother. Hi. No. Hi. Okay. Hey, up. No. Above. No. No. It's not. Him in. 40. 39.General Mix Balancing Overview: If you're wondering, you'd say, Hey, what are you doing? What I did was just trying to balance the whole shock to push up the levels higher, solid the instruments that were too low. You have to do those things. You have to, it depends on the kind of thing you want to achieve in your mix. When some instruments are Lu and you really want to fool those instruments in, try to push them up and bring them into the mixed. So that was what I was doing now as well as in the stock or so. I did a bit of planning as well. And upon in it's just like putting some of instrument on the left side of the stereo foot. That is probably if you have your headphone on, you see that our spanning part of the guitars to the left and some parts also to the right? Yes. So I was doing those things as well. And then I also did a bit of compression on the base as well, are just fixing minor, minor stuff. And because already aligned as an assign are plugging into the inputs and our bosses as well. So I was just working in balance and stuff, making sure that things sits in the mixed. Some blue we say gain staging or whatever it is. But I call it our balancing. Balancing my mix and making sure that things fit in the whole mixture. So that is what I did. I'm just giving you a general overview of that because I really want to talk to interrupt the whole, the whole mixing process. So this is just a general overview of what I did in this section. Let's move straight to the next section. 41. 40. Instrument Delay Fx Track: We'd have to work owned instrument delay truck that's in the delay effects truck. Now if you can see it in your shots, I've already opened it overhead, but I place it in a folder. So this is our instrument affects instrument as an I. Let me just do that quickly. Yes. Instrument effects. When we go straight into the folder, we've got our instrument delay and instrument reverb. Now are like us to work on the instrument delay. Now if I think he should have this stereo delay in your Cubase. So you just have to go through the insects section and just look for it and select it. Now we'd have to use, we'll be using pink born for, for our guitars and for the instrument, not only the guitars buffer the instruments. In general, I would just be adding a bit of equalization to the delay track yet. Yes. So let's just do that quickly. Whilst we listened, we listened to good. I wouldn't be talking, just going to do the EQ and then you guys will just have to follow me as I do that. So let's just go straight to that. 43. 42. Instrument Delay Mix - Fx Track overview: In a nutshell, what I did was to cut some lows over here, or probably, probably create a high-pass filter over here. And then a low pass filter over here as well. Or I cut some Lowe's or and also cut some low-frequency over here. And I did a bit of boost in the mid-frequencies section, that is the lower mid in-between the lower myths and higher midsection. And I did like 5.9 dB over here. And then other low-frequency or so I did a boost of about 3.5. But I cut some kind of frequencies from reserved to like a 115 or something like that. I see like let's say a 115. Yeah. The main reason why I did this is because of the low end. The more you have reverbs going on in your low-end is going to make your work muddy. And the mixer sound very much. So. To avoid all those two, you have to cut the laws of the reverb and sometimes the delays as well. And that's you hear that delays in the low-frequency section. And sometimes it's very, very bad. You know, it's, it's, it's fights or let's say it's it doesn't fit between the low-frequency, especially when you have your base and your kids. When you have your base and your kick going on within those sections. So the best thing is to cut your lows in the web section using our EQ. So it's very, very important. So you can let this trig and, or they are ordered cool things as well, but we can't do everything a goal. So this is one of the tricks for you, young and upcoming producers or them. You can do this. Apply to your music. And I think it's good to solve a lot of issues you have in now, especially with the low-end. Yeah, let's go straight to the next section. 44. 43. Instrument Reverb Mix - Fx Track overview: As a consumer, why I did the same thing to the reverb section. I think we did that earlier on. As you can see with cuts on low overhead. And let's display the two of those who like you guys who just have a feel of it. Okay, So let's go. 45. 44. All vocals Reverb and Delay fx: Would have to add a bit of reverb to cross-walk hold spend, probably a small delay. So let's just do that quickly. 46. 45. All Reverb and Delay fx mix : Then can see their feedback of the delay so much so we'd have to bring it down a little bit over here. So you do that by just going to do that by just going straight to the, the delay effects. And then we have to bring the feedback down over here, but probably like 816, 17%. Then in this case we wouldn't get so much feedback like our double delay stopping in after our delay for, for, for, for the cross-section. I'll be doing that. The Kouros delete group? Yes. All the bars. Let's go straight into better. 47. 46. Final Mixing for Lesson 1: It's odd, its volume is nine. If I'm a mom and so phobic and it was some kinda send me yeah. I didn't know my mom is Missy and younger in my MSE. Okay. So Rebecca and it wasn't good number for me. Yeah. I didn't know. I just started just do my hair to assist the day Sunday up ourself going up, up up well, McDaniel. And it was seven yeah. I'm throwing up day that day. Nine. 48. 47. Lesson 2 Introduction: Hello and welcome to lesson two. In lesson two, I wouldn't be talking, I will just be going through the whole mix and I'll try to fix my domino stuff in the mix. Now after I've finished doing that, I'll just give you a whole overview of what I did. So that's what we'll be doing in lesson two. 49. 49. Bonus Mixing Explaination: Hello and welcome to the short version of the mixing process. Now in the mixing process, I did a lot of teams and liked to break those things down. So you guys are lists, you guys will have an idea of it. If we're not able to watch the longer version, which is about two hours or more. I think most of you already have time for that. So that's why I'm doing this particular version. In this version, I did a lot of things. I did some automations. If you can check over here on your screen, you see there is some automation on the lead vocal parts of the vocal. I did. When you go to the shock section of the Foucault. In this particular introduction, I came through the channel strip and then I introduce another compressor. I just introduced the default one. You can just toggle between the defaults are seen on and off. And you are going to experience how it sounds. I just wanted to wanted to be short so that you guys know what I did. So basically what I did was to introduce a compressor and EQ realization. Then DSRs wall. That's basic economics in setup. So I didn't owe to Chinois here. I got one compressor also overhead, which is the no more compressor you guys are used to. Also did somebody S and S. That is the whole thing. I just wanted to break that down to you. You know, some part of the Kouros and all that, some part of a cross if you can see in your short. So here there's a console. So I did the same thing over here. I introduce compresses and also the SSR. So basically that's what I did. So if you wanted to go through the whole project, just download the file and then just go through it so you're going to see whatever I did. You can just watch it and play around. It's just my version of it. And for the course, so basically this how I wanted to hear a song. Probably you want to hear the different ways you can work around it, changed it to your own way, and just be creative around this. Thanks a lot, less gets treated and mastery section. 50. 50. Lesson 2 Overview: Anyway, in the general mixing kind of thing, what I did, what I did in the genomics and overview, let's say less than two. I wasn't talking just like the way I explained to you guys earlier on. I did some bit of automation, some bit of compression. I was just adjusting things up and down, you know, especially with the delays. The workhouse, I did some automation. As you could see, it predicts file is also in the description. I've got it attached to this course. So you can just download it yourself and go through it. Yes, You hardware. General overview of what I was doing and I said You understand everything since you have the ability to download the progesterone. So anyway, so let's go straight to the mastering 16. 51. 51. Mastering Overview: Welcome to the mastering section here. In this lesson, I'm just going to do everything on the stereo bus. So that means I wouldn't be exporting the truck to a different program or probably a monitoring program like we've lab or something like that now, I'm not gonna do that. I'm just going to do everything in the mix. So I'm going to put my mastering chain, owned the stereo out. Yeah, so that's what we're going to do. Let's go straight to that. 52. 52. Plugin Chain Explaination for Mastering: The mastering stage will be doing our mastering on the stereo bus. That means the outputs us in the main outs. As you can see in your shot over here. Let me out. That is the very last struck off. The who makes unless my Santa Barbara multiband compressor, I have a T-Rex and then I'm gonna stereo expander or enhancer. And I've got my limiter from T-Rex as well. I'm just going to break the whole process down to you guys, okay? First you have to consider the song you are doing, and then you have to mix it according to how you want it to sound. Okay, So it's just like a dance music. And that is why I went to for that particular preset. So that's going to enhance my workflow. I don't have to sit down and restart everything. Preset has been provided so you have to make good use of it. Yeah, I chose a dance mass stars, my presets to startup with it sounded very well. So I guess there's some little tweaks probably I worked on you can see the compression section. I worked on the base that's in the low-frequency section costs. I didn't want it to sound too loud, so hard to compress the bass. Us in the low-frequency, sought to compress the low frequency. And that's what I did over here in your shot. I'm just giving you an overview of everything I did and I'm just going to be demonstrating it to you guys. Yeah. This is what I did over here and then I where I came to mind my T-Rex for the for the gas compressor compressor. I did another second compressor again over here. And then when it comes to the channel strip, I also just, I just switched the compressor. I didn't do any trick or just needed that kind of boost. Probably one dB of boost or two BDD of boost from the site. I did, That's also overhead. I didn't touch anything over here. And then came to my institute, enhance the US, my TED, or let's see, probably a fourth, blogging this my stereo enhancer. And I guess why didn't the stereotype 14, 4%? Yes. My last thing on my chain was Iraq's expand US. So I chose a star loud master. And that's it. That was my setup for this mastering 16 years in the Muslim sects. And you can do your compression. And the reason why I'm doing it on a stereo bus, because if there is some kind of mistakes, probably if something is too loud, we can just go straight into the mix and just haven't gotten down. Yeah, So as a beginner, mixed, it makes an engineer, you have to blend that costs. If you're able to do to save you a lot of time, you do a master stereo bus. And then there is an issues. Something is too loud, whatever it is. So wide anything you can just go straight it and mixed and fix it up. Yet costs if you wanted to do the mastering, you have to use a program like we've loved and all those kind of stuff. We are doing everything in Cubase year. That's why for this lesson, for the purpose of this lesson, I just chose this disposes just to make things very simple for you guys. If you don't have to just look forward to just buy it online. So that's my setup. So let's just listen to what are we doing already be talking so I don't want to interact. During the mastering section. You can concentrate on what we're doing. Let's go straight to that. 53. 53. Final Mastering : No. Nominal. It doesn't matter. Hi. No way. And it wasn't that bad. If you don't hi. Don't know. I'm back. And a mother. 54. 54. Lesson 2 Conclusion: Counselor for joining this course. And I'm very grateful you did either, you know, it's all about practice, practice, practice, practice, practice. So what I'll say is since you have yourself twice, you have your plugins, you have your VSD needs to maintain all that. Just try your best to practice. And also sometimes you just need a reference shock. Put it on board, try to mix a song. Do just do a replica of that song you're hearing. And try your hands on trying to achieve the same sound. Just do that and you find yourself doing better in the mixing and mastering section. Thanks a lot and best regards.