Transcripts
1. Welcome: Welcome to Module
two of the mixing in our faults to do with
stock cladding clause. In this one, we'll be working on our drums that we'll
be applying side chain if it's EQ saturation to
make sure that our drums and low end sound and tight
and please don't forget to download the FLP in
the project section. Let's get started.
2. Kick & Bass - EQ: Hey, welcome back. In this
lecture we're going to be applying EQ to our Keq and base. Like I said, we're going to
start with the foundation, which is the drum
sections that you keep, your base, your drums, obviously the basis
and instrument, but it's also part
of the low end. It contributes to having
that tight low end. So in this lecture
we're going to focus on EQ and the kick and base the whole purpose of
an EQ first will happen EQ, let's go to the kick
track, huge kick. To open your browser, just select the
instrument you want to add the effect to
follow my cursor. You select slot number one, the browser pops up here. You can go to filters and select the fruity parametric EQ. We're going to be using the
fruit to parametric EQ. Let's select from nine to 25. Open the mixer
again, open the EQ. So what I'm gonna do
now I'm going to play the track shot in color. As you can see, there's
some ways popping up representing the
frequency activity happening in this kick track. Okay, so the purpose of an EQ, it's to filter, boost
and cut frequencies. For example, in this case, we want to be stripping
around looking for the dominant part of the kick
from the left-hand side, you can see it's base, that is the low end. This is the mid-frequencies. That's where your terms
on your vocal play. This is the high
means, the top end. That's where your
shop sounds like. Your high heads and sharp
S is of your vocal. So this is the low, this is the meat, and
this is the top end. I'm pretty sure
you're familiar with those terms, low, mid, high. So what we're going to do now, let's play the track
shot in college. Right now, right-click over here and solo this kick and play. I'm going to use this
number to band right here. I'm going to sweep around, around 50 to 90. That's where the dominance
of the key keys when it comes to tone
and try to boost that one until you find a tone that's in sync with the
song key, which is C minor. Let's play the song again. Starting color actually where
I've been shot in college. Alright, hold on to that
first node of the cake. Shouting colleagues, new way. I'm going to be focusing
on that tone also while trying to boost this 60k. Okay? So to boost, you just click with the mouse hold and move
with the band around it. There's ten down that
bend a little bit for a more accurate
level adjustment. Let's use these parameters
on the right side here and just pull it down
straight like this, where more accurate
adjustment over frequency. I like to use these levels. Get tenant up and down, play right there, 79, while it's in sync with
the Song Qi and two, that's where the dominant
part is of that cake. So I want to put something
like plus four dB. Okay, look at the hint pineal
year while I'm adjusting, say with four plus
db. Let's play. Yes. Now let's mute that
EQ. Let's enable it. You can see it's kinda
punching a bit more and will only posted the dominant part of that frequency.
Okay, let's play. That was 79 heads. We're gonna go to the base. Is it? Let's enable
this music bus. Alright, I'm gonna pull up an
EQ and look what that 79 on this base and turn
it down just a little bit and do something
like minus four dB. The wide eight is, the
more nearby frequencies it affects and the narrow it is, the less nearby
frequencies in effect. Okay, let's just do
ten per cent and play. Alright, so we're making sure while the base is
doing its thing, it's a bit tamed on that dominant 79
hertz frequencies of the key k. They are
showing that space. So want to make sure that
they work well together. Okay, That is the
first adjustment on the kick and bass part. We're about to do more
fancy techniques, but don't worry, I'm
going to keep it beginner and very simple. Okay, so we apply that
technique of an EQ just to boost the
Keq so that it has more dominance and
sharper than the base. And then we dipped the same
frequency heads on the base. You can use this switch
enabled if it's lot, disable it disabled
on the base display. Alright, you can hear that the base is
overpowering the kick. Let's enable them. Right. Now you can hear the kick.
That's it for this lecture. In the next lecture,
we're going to start applying some saturation
to this key can be, see you in the next lecture.
3. Kick & Bass - Saturation: Hey, welcome back.
In this lecture, It's time to add
some distortion. Okay? So basically
a distortion sound, sound you hear when
the sound is clipping, but there is a plugin that turns this bad sounding tone to an effect to add more
grit and punch to a sound. Okay, so what I'm gonna do, I'm gonna go to my kick track, go to my slot number two, and go to distortion category. Okay, so if you want to see your plugins
organized like this, you just switch your
browser setting too simple, which is the default. Two categories. As you can see, it is where you can switch it, switch it to categories. Now it categorizes
everything based on groups gave router delay
reverbs controllers. We're going to go to
the fast distortion. I want to add the
distortion to my kick just to make it more grit
and punchy. Let's play. As you can hear
it, it's too much. So the first thing
we're going to do, we're going to attend
down the thresh hold. Let's turn down the threshold or something like 50 per cent. Basically you learn more about the threshold when we were
on the compressor section. What a threshold is the
point where the effect starts kicking in that's being applied to a
certain sound gets. So for example, these waves, if the threshold is set
to around this point, anything before that point won't be affected
by the distortion. Everything after
will be affected by the distortion tool
50 per cent in play. Alright. Alright, so the mix, it's the mix between
the dry signal, the signal without the effect, and mix it with the effect care. So let's start from 0
in play and push it up. Push it up. Push it up again. Turn it down a little bit.
30%. Sounds good to me. Let's switch it off. Turn it on. Let's push
up the threshold again. Let's try 60 and play. Yes. Nice. Right as ten, the mixed down to something
like 20 and play. Switch it off. Sues the fastest on. Alright, nice. Okay, we don't want
to do it too much as you can here now without
the fastest option, it sounds okay, but with
the fastest social and it's more aggressive,
it's more powerful. Now let's go to the bass track. What I'm going to
do with the base, I'm going to add another
distortion plugin. Want to add more punch and more weight to this
space in a way. So I'm going to go to
my slide number two on the bass track and bring
up fruity blood overdrive, blood overdrive
distortion plugin. So let's disable it, right yet to disable it, you just go to the selector here and disable it like
this. Let's play. Let's disable the kick.
Enabled blood overdrive. By just enabling the plugin, you can hear that it
sounds more fat in a way. That's what we're looking for. So let's use the preamble. Add more gray ominous, or turn it down.
Good. Let's play. Push it up. Okay. I turn it down. Push it up slowly. That's fine
with me. Let's disable it. Enable it. Disable it. Enable it. Wow. Sounds more fat, sounds more punchy, is
taking up more space. Let's play it with
the kick, right? For more screen real estate. Let's just disable this browser. We won't be using this
score right here. If you browse up like an picker, just click on it.
Let's go again. Let's play. Alright,
I want to turn down my Keq a little bit just until it's around minus
eight, minus nine. Now, right? Nice. Go easy with
that distortion. Let's play 15%.
Yeah, that's fine. I want to turn down my
60k, sorry my base. Let's turn it down. Nice. Alright. Alright. That distortion edit a lot of top end to
this key cookie. What a top-end is basically these triple part
here. Let's play. As you can see, this
is a low enzyme, but it still has some
top and mid-frequencies for the tone again. So what I'm gonna do here, I'm going to right-click on
this seven here and turn this to a low pass filter. Low-pass filter,
basically caused from the high-end side and the treble side to
the left-hand side. So it lets the low
frequencies pass while cutting from
the top and a side. Let's adjust this number seven, which is our low-pass, and cut slowly.
Okay, let's play. Alright. Let's disable that adjustment. Just go over here, click on it. It's disabled right
here. Let's play. Let's enable it. Okay,
It's a bit softer, but I think the
filter was too much. Let's go easy again. Let's go back with
the cutting. Go easy. Around 8.5. Let's play. That
sounds good to me. All right, that
sounds good to me. Okay, Control, Save. And now we're done
with adding saturation to this key can paste,
which is our low-end. In the next lecture,
we're going to start applying side chain technique. See you in the next lecture.
4. Kick & Bass - Side Chain Compression: Welcome back. In this
lecture we're going to start site chaining
the Keq and base. Why is AI training? Okay, Let me explain real quick. Same training is
basically the process of using one signal, instrument to three got an effect to happen
on another track. You will hear an effect That's like when you're
listening to EDM music, that is side chaining. When the kick hits, the bass sound
dips in volume and goes back up real quick one, it gives you a clear kick to it. Use your groove, a vibe when
it comes to EDM trucks, are they even use a training
on the synthesiser? So what I'm gonna do now, I'm going to select
the kick track and right over the
sub bass track, I'm going to right-click
on the arrow. Don't click on anything. Just make sure you have
the kick selected. Right-click on it. What I'm gonna do
now I'm going to say side chain to this
track laser side chain, side chain to these Shrek. Okay, let's play
as you can here. Nothing's going on. It's not affecting
that bass track yet. Step number two,
we're going to go to the bass track now and add. Let's use the fruity limiter, which is a stock plug-in
to do this fruity limiter. So what a fruity limiter is, it's a mustering tool that
we can use to compress, limit, mix out the track
in the mastering stage. But in this case, we're going to use the
compressor to walk. As you can see, it's on limit. We're going to switch it from
limit, limit to compressor. Compressor. And what
we're gonna do next, we're going to go to
this site chaining selector here you can
see written say drain, you're going to right-click
on it and select H kick. This only appears here because we did a side chain
linking first. That's why you can see h kick when you right-click the
compressor, picks it up. The next thing
we're going to do, we're going to
push up the ratio. The ratio is the amount of
compression we're applying. You will learn more about
that the more we compress vocals and everything in
future. That is the ratio. We're going to push the ratio to something like two,
something like 21. Alright? And the
threshold is the point where the E field will
start taking place. So the more lieutenant down, the more it's affecting more of the signal and the release. Let's make it fast
and they're released. It's how fast or
how slow effect, Let's go, which is compression or side
chain in this case. Let's push it down too. Something like two milliseconds, which is super-fast, the attack, let's leave it at, let's just push it
up a little bit, just a tiny bit, because 0 comma 30 milliseconds
close to 0 anyway. So what I'm gonna do now, I want to play this track. Pretty sure you can hear
there's nothing going on. The most helpful part
of using the limiter, especially for beginners, you want to see what I'm
doing in action. Let's play. Right. Now. Let's start
playing with the threshold. Let's push the threshold
down while plague. Now you getting
here when the kick hits the base dibs and volume, but it goes back
faster, super-fast. Now let's push the release. I said the releases
how fast or how slow the compressor let's go or
side chain in this case, let's push up the release
and make it slow. I want you to see if
something, Let's play. That realist up again. Now you can see
the kick triggers. It's pushing the wave down in volume and it goes
back up slowly. Now let's turn down
the release again. Let's make it something like
50 milliseconds and play. Here's the floor. When it comes to a
slow-release insight chaining, it exposes us to the listener that there's
something going on in this track when the kick hits
the base dibs and volume. This is not an EDM tracks, so we wouldn't want the
listener to pick that up. Okay, so we're going to go down when it comes
to the release. Let's do something
like ten milliseconds, which is a faster
release as play. Alright, great. Another thing we're going
to do it, Let's go. Either with the
threshold wouldn't want too deep of a whole signal. We just want to deep
maybe eight dB, six dB of these base
when the kick hits, just for the base to make
space for the Keq when it hits and go back up
to its normal volume. Okay, we don't want the
listener to hear it. Like I said again, Let's play. Right? Let's go
down again slowly. Release. Sorry, the threshold. Alright, minus 15 dB, That's fine. Minus 14 nights. Now you can hardly hear the side chaining or the
deepening of the base. Let's do something real quick. Disabled the fruity limiter
and play the music. That's without side chaining. Let's enable it. Alright, what you're going to notice now, you can hear the kick clearly. You can hear the bass, clearly what they are playing
at the same time. And we use that EQ adjustments to make sure that
our kickstand out. We'll use the distortion on the base to make sure
our bases heavy. But at the very
same term, we edit that side chain to make sure that they give each
other space to shine. This is the low end. It's very important that these instruments work together instead of clashing and fighting
for that space. Now we have a clear low-end. I've been working on
myself, on mute. Myself. Alright, sounds good. And now our keychain
base as clear, a low end is tight. The next one we're going to do, we're going to start
working on our petitions. Or the drum sounds like you
kick, snare your clubs, so that we can
continue to work on more melodic stuff like
your pianos and everything. So in the next lecture
is we're going to start working on our machines controlled save command on your Mac to save your progress. And I will see you
in the next lecture.
5. Percussions - EQ, Sarturation: Hey, welcome back. So in this lecture
we're going to start working on the percussion sound, which is still the drum section. We're going to be adjusting
or tones and everything, making sure that everything has its own space at
the very same time, it's not occupying rooms that
is not supposed to occupy. Like I said, the low end. That's where the
dominance of our low end, okay, that is around 20 hertz, as you can see on
the hint panel, that is around 20 heads
until around 300, that's our low end, that's where it shines. But you're going to notice
some frequency activity when the base of Keq
is playing right here. That is to give that
kick a unique TO, okay, you don't need to cut it. So what I'm gonna do now,
I'm only going to enable my drop arms again and play. Alright, another input in sound when it comes to
this drum is my snail. Let's start with the snare. Let's draw in an EQ, no, restless, true in
rugae wave shape. Alright, it's under distortions. Wave shaper. Alright, so what
I'm gonna do here, this is a distortion plugged in. I'm just going to boost
this wave up and down to soften or make this
snare more aggressive. K. Use your mouse control like
this. Great. Let's play. Push it up. Right? Let's go down 10%. Without, with more aggressive with this distortion which is
applied plus ten per cent. That's it. The next
thing we want to do, I'm going to add an EQ. We're gonna do a
high pass filter. Remember, high-pass
filter, we're counting from the left-hand
side of the EQ. You can still cut like this, but the perimeter
AQ typically lead some frequencies escape
when you're doing that. So let's do it the
right way and tend to spend to a hypos type. Right-click, go to Type, select high pass filter. So if you want to adjust
this slope right here, you just scroll up and down to adjust the slope care of now
let's play while cutting, I think fifty-five percent
slope, That's nice. Let's play. The more go to
the right with this cart, the more I'm chopping
off the low end. Okay, let's play again.
Alright, British or you can see there's some
frequency activity that's typically noise. Some of its energy comes
from those frequencies, but some of those frequencies, we don't need them at
the very same time, would all want to
unnecessarily create competition for Keq and base. So let's cut. Yes. Alright, around two to
three. Sounds good to me. Alright, so the next
thing I'm going to do, I'm going to sweep around here and see if I can team
some of this top end. There is some aggressiveness that is too much for me here. I think it's right around
here, 5.9 heads, right? Let's turn it down. Right? Right. We get, let's turn
down this name volume. Push it up again. Push it up again. Played with the key. Put it up again. Alright. Alright, this is a Hip-Hop R&B track that snare being right there
near the Keq levels. That's perfectly fine. Alright, let's bring in the Tom that in each year to the
term that an EQ to the term. Yep. Alright, let's remove
the low end from it. Sometimes you don't
see any activity, but for security and making
sure your mix is clean, you don't have any noise that's
happening in the sample. Make sure you cut
that low-end man. You can see these
dominance around 240 and tonight too full when it
comes to this hedge, Tom. So we don't want
to take it unless we want to adjust and change
the tone of the tongue. For example, that Tom is close
to nonexistent right now. Let's play. Yes. Yep. Around 196. Let's leave it there. Let's play let's add
some highlights. At an EQ highpass year, just for security,
there is nothing wrong, but let's just cut live with
their 2008 turns red heads. Alright. Like I said, it's 20 heads from the left to the right side. It's a 20 thousand hertz. That is the top end, that is the frequency spectrum. This hi-hat. I think this is enough
space for it, okay? The more you adjust. Changing
the tone of it together. 12, I like it as is
bringing other songs. Alright, EQ to this shaker. High bias. Just leave it right here. Again, I'm leaving some room
to it because the sample, it sounds like it has
some reverb in a way. So R12 team that
effect of the reverb. I love how it sounds, right? This vocal effects,
Let's just EQ, eat like a vocal in
a way, high-pass it. Let's cut until like 250. Nice. Okay, Just have fun with it. Make sure you are intentional
with your adjustments. Okay, now, let's Control C
or Command S on your Mac. In the next lecture, we're going to start applying
creative effects just to spice up this
drum control safe. See you in the next lecture.
6. Percussion - Reverb, Sends: Welcome back. In this lecture I'm going
to start applying revamp. The purpose of the
reverb is to add more depth and
width to the Shrek. Okay, It adds some
space emulation to make it sound more exciting, in a way, an interesting
play, the trucks first. Alright, let's solo
this high head. First, I want to show you
how to use a reverb drag, alright, on your categories, we're gonna go to
delay reverb category. That's where we'll find
our fruity reverb to. Alright, real quick, let's explain the functions
of a real variable. Here. This is the wet bulb. This is how much reverb you are applying tool with a track, and this is the amount you
can live the dry at 100%. In this case, here, this is the size of the room. Like I said, it's an
emulation of space so we can increase the room or
decrease the room. This is the base
tone of the river. And here you have
some EQ parameters. For example, this one, it's cutting from
the right side, which is the low-pass filter. Here it's these high cut. High Cut is a low-pass filter. It's cutting the high
frequencies loca, it's a high pass filter. It's cutting the low end. It's cut in from the left
hand side on the EQ. Again, the delay,
this is a pre-delay. How many seconds do you want the effect to take before
it takes place at 0, It's instant just
like that, right? This is diffusion. Diffusion. It's basically the absorption of the top end of the river. But to save CPU, memory won't be applying the reverb directly
to this one sound. Let's delete it over here. Now, we're going to
start using sand tricks. Remember, our
template already has a designated section which is 100 to 103 fourths and tracks. So we're going to rename
truck number 100, rename it and say reverb a rep. And let's change the color. Let's make the color something
like drab, believe, gear. Let's hit Enter. Nice, sweet. Let's add that fruit or web
go to delay and reverb, fruit of reverb to a grid stuff. So in order to use sans, we simply send a signal
to Yvette attract. So for example, in
this case we have the trick being
sent to drum bus. Now we're going to start using
the other part of routine. So I'm going to select
this high head and hover over this are on the
web, right-click on it. I'm going to say
root to the node, a route to this track, only route to this track now, alright, route to this track. Now it's sending it duplicates signal to that reverb track. Here you can use this
adjustment tool, reverb signal as how much signal you want to send to
the reverb will be using this track to apply a reverb
on multiple tracks instead of telling up and down the reverb applied in
this hi-hats track. On the plug-in itself, we're going to use
this send tool. Okay. So to make them
adjusting the amount of sand, I'm selecting the truck
which is the hi-hat. And let's send something like
50 per cent in this case. Let's go to the reverb
track and play. Right? Let's open up the reverb. Since this is a centric, Let's mix out this wet level. We don't want the dry signal. Remember what I wanted
to duplicate dry signal. We're going to set the dry to
0 in this case because it's a centric now its only purpose is to apply reverb aux tracks. Let's play. Alright, here's another perimeter or
forgot to tell you about. This is a d k. D k is basically the amount of time it takes
for the reverb to go off. Okay, so a slower decay, which is a tale of everywhere, takes time for them to go off. Faster decay, which
is like two seconds. It quickly shuts down when
the truck stops playing. Alright. So let's set it to just
two seconds, right? Let's play. Let's increase the size to
something likes went in play. Sounds good. Let's,
let's cut off for the low end from this reverb. Let's do something like 200. Look at the hint panel
while I'm much osteon. Remember on our AQ drag, right? Remember this is 200 quick item from this side to here again, just to paint an image.
Now let's do that. Cut the reverb. Great. Now let's cut the
top end and let's play. Can it down around to stop at one K? Now, scroll up a little bit. Alright? Alright. This perimeter is normally they don't
do justice for me. Okay? I'm just going to say
reset and apply an EQ to adjust the top end on this interrupt
were hidden in EQ. Right-click on number
seven and say, this is gonna be a low-pass. Let's play. Do
something like this. Nice. Around 4.75 K. That's what
I'm cutting the top end. Leave it as is.
Sounds good to me. Alright, and now let's turn down the amount of reverb Busan into this high head by
selecting on the high hat, remember the same
perimeter turn. I don't want too
much reverb on it. Let's add the snare and clap. Let's send some signal to it. With select on the
track, we hover over the arrow of the
center. Click on it. If you don't want to
do the slow route, which is root two, this drag when you're sending signal and you just
click on it and click on the arrow sends signal
here. Extend it down. Let's say this is a
drama of evidence. Rename it from revamp their DK2, too slow for the drums. Go to the reverb plug-in
again and try 1 second, which is the tail of the
reverb. Let's play again. Alright, let's
increase the amount of sand from the snare. Nice. Right at the top. Let's add some
reverb for the term. I just want to per cent
add reverb for the shaker. Also just click on the shaker
and click on this arrow. And let's just do five
per cent for the shaker. Okay, let's do five per cent
for the pitchforks effect. Nice. Alright, what you get
here now this drums or more live in a way because
it's adding a realistic field. Now obviously when
the band is playing these some room
affecting what you hear, and that's what every
web does to a trick. Let's play the drums. Let's add more reverb
to that high head. Let's push it up a bit. The D and the shaker also to
something like ten per cent. Nice. Alright, now let's
disable the reverb. Track, the sand.
With the reverb. Now the Muslims more live with sounds more wider in a way. In the next lecture, we're
going to start applying a delay effect to these jump
occasions, control safe. I will see you in
the next lecture.
7. Percussion - Delay: Hey, welcome back. In this
lecture I'm going to start applying a delay to
these germ cells. While I was listening
to the mix, I realized I only want to apply a delay effect to
these folks effects. Let's listen to it. I wanted to have a more interesting
presence in this mix and self. I want to add an effect
where it's like, yeah, yeah, yeah, yeah, yeah, yeah. Alright. So I'm gonna draw in a delay directly on the track. I'm gonna go to my
slot number two on the Vox efforts and
bringing the delay. Number three, what I'm gonna do now I'm
going to go to the delay time, make sure that tempo sync
is enabled right here. So that the delay is in
sync with the tempo, which is why it's
very important to set your project
tempo and mixing. In this case, it's
the song is 100 bpm. Alright, let's play. Alright, I just the time. So the time is
basically the amount of milliseconds it takes for the
repetitions to take place. Now it's set to eight. Let's play. Right? So eight, as you can see, it's a half time delay, 1.5 time delay on
some delay plugins, you can see it says Huff
one over two, right? Let's set it to four games, which is a quarter delay. It's a foster delay. Great. That's a correct deletes done some delay plugins is going
to see what one over four, which is a quarter Delete. Alright, great stuff. The next thing we're going to adjust is the feedback amount. The feedback amount. It's how many
repetitions, tea, please. Okay. So for example, for a low feedback, we're going to say,
yeah, that's it. 12. Alright, let's push it up and
do they represent display? We have some
repetitions taken place and they slowly
fading away nicely. Alright, and we have a
cut off, the cutoff, basically add some filtering
tool that delays signal, gets play it Asbury. Right? Let's push it up. I think it's cutting too
much of the top end, right? That's what the cutoff is doing. It's cutting the top
endless play, right? I feel like that's enough
around five k 5.3, good. That's enough for
me. Let's play. Right? This is the wet amount. That's how much delay you are applying to that sound.
Let's switch it off. Alright, let's,
let's make it 50%. Because I don't want the
delay to be too loud. Nice. 50 per cent sounds good to me. Alright, let's leave
the dry as is. You can ignore these for now, okay, but for beginners, if you know the
features I explained, most delay plugins have those. Alright, let's play with the
drums now without the delay. Shoddy colleagues
anyway, I've been I've been working
on myself, Johnny. Alright, now let's
enable the delay. Wow, listen to it. Adding a nice
effect. Let's do it. Nice. I think that's all I need for. Now when it comes to delay, let's move back a little bit. I want to make
some adjustment to this cellphone effect.
Let's turn it down. Alright, let's
just turn it down. That's it. Alright,
let's switch up my tag. Right? That's it.
That's fine for me. Alright, Control, Save. Now we're done with
mixing our foundation, which is the drum
section in this track. I hope you got some value and feel free
to send me questions. The next section of this course, we will be working
on our melodies, mixing our keyboards or pads, pianos that seat for, or they're drunk mixing section.
8. Thank You: Great stuff and Congratulation
with Dan with this module. I will see you in the next one.
Sabelo September, Music Producer, Content, Web Design
