Transcripts
1. Welcome: Welcome to module three of the mixing and outfalls
studio using stock plug-ins. In this one, we'll be
focusing on making sure that our keyboard sounds on clean
and present in the mix. Please don't forget to
download the FLP in the project section so that it's easy to follow along.
Let's get started.
2. Keyboards - EQ, Reverb: Welcome back. In this section, we're going to start mixing
our instrument tracks. The focus will be on our peds, all pianos and Bell tricks. Let's go ahead and enable the drums to see all the vocals. Let's play the track. Let's enable the
selected to till 25. Alright, that's where most
instruments are at to forget. So what I'm gonna do first, I'm going to look for the lead instrument,
which is the piano. I'm going to show
an EQ on that one. The first thing
we're going to do, we're going to tame the
low end of that piano. Play. Listen carefully because we don't want to mess up
the mid of this piano. Let's play Right there. 200 is the sweet
spot. Let's play. Alright, and that's the
one I'm going to do. I'm going to apply some revamp. What do we do to apply a revamp? We're going to use
the sand break. Okay, So select piano and let's select sand and send some. I think that reverb is way
too fast for this piano. Let's create another
reverb track, river. That will be the room for walks. We can use it for pianos. Also, the only difference
with this reverb, it's going to have a bit
slower decay than this one. So I'll just save the settings are already made in this word. This is to save us time. We just adjust from this point. We're going to go to
this first set and drag. We're going to go to this arrow right here, drop-down arrow. We're going to say
Save Preset S, sand, one grid, go to the new
centric, throwing everywhere. We look for that. The first survey will
be going to my desktop. Just a drag and drop, press it. Okay, so all the settings from the previous one are
the same here also. But what I'm gonna do now, I'm going to change the
decay to two seconds. Great. Let's send the piano
to this reverb track. I like that. Nice. Alright, let's do something
like twenty-five percent. Tint it down in volume. The second thing I'm
going to do right now, we'll be adding a direct
delay to this track. I'm going to add the
delayed three again. What we're going to do here, we're just going to add
some feedback loops. Let's stick to call it delay. Let's turn down the
feedback. Just 20%. Again, that's what we want. But what I wanna do
now I want to cut the low end from are
these delay, alright, let's set it to
high-pass filter mode, high-pass and do
the cutting lists. Just set it to 50% in play. Again. Alright, let's do more cutting. Now it's only giving us a
filtered feedback loop. We set it to high-pass. Remember high-pass, we're
cutting the low end and letting the high
frequencies pass, right? Let's set it to bandpass, which is cutting
from left and right. Now it's giving it that
filtered if it were going to attend down the wave to
something like five. Let's play. Yes, I want
it to be super low. I just want it to be a filler
in the background. Okay. Let's play with the drums on the piano volume a
little bit and the base. Nice. Now let's go to the
supporting a lead paid. Alright, this is the pad. Alright. We're going to remove the low end on this one also. That is the pad. Yes. As
you get as you can hear it, it has some reverb to
the sample already, but we're going to add
a reverb also here. Let's do something like 20. We just want to make it sound more wide with
more depth. Again. Let's play. Wouldn't do
much to these instruments. Yes. It's bringing the piano. Let's just throw in an EQ
on this piano hypothesis. That wouldn't do
much to this bell. Yes, let's listen to it. Nice. Yes. The next lecture
we're going to start adding saturation into some of these songs just to make them
more present and dominant. Or that's it for this lecture, I will see you in the next one.
3. Keyboards - EQ, Saturation: Welcome back. In this lecture, we're going to continue
working on the lead melodies. O going to add a hue and
saturation to this one. I'm going to show
that the piano again. I'm going to use a free plug-in
called a sausage Vietnam. This will probably the
only party plugin, but it's a free one. You just search sausage
Vietnam, you can download it. It's a free source age fed. Now I'm going to increase the fitness and you'll hear
what's going to happen. Let's play. Right? Let's turn a dance too much. Alright? Without the effect. The effect at some Karla, down again, 15% Karla, Karla is basically working and making sure that top
end is a bit brighter. The fitness, It's distortion, adding some thickness and
dominance to this sound. What I'm gonna do
now, I'm going to move up these sausage Vietnam. I want it to be
before the EQ, right? So to do that, you just hover over
the plug-in and scroll up and down
in front two loops. Okay, now it's the first sound is that if it's
adding some low end, that EQ will take you off it
and chop off the low end. Now let's play nice. As ten down the piano again. Tend on the piano again. Turn it down again.
Now let's play. Nice. Alright, what
I'm gonna do now, I'm going to look for
another section where we have the warm piano play, right? This one won't do too
much on that one also, we're just going to
throw in an EQ, right? Right-click high-pass filter. To remove the low end. Let's filter it in a way, low-pass filter on
the server, the band. Alright, let's turn it
down in volume more. Alright, let's turn it to
the left a little bit. This parameter right here, these are painting parameters. Okay, let's take it to
the left, 20 per cent. Get the helix pair list tended
to the right a little bit. Let's do something 20
per cent also, 25. Okay, the warm piano
to five per cent. Why are we paying him?
We want to make sure that not everything
is dead center, so that our piano,
the lead piano, kind of shines more than the
rest of the Slavs scale. Let's play. Yes. Right? Let's listen to,
it. Sounds good to me. Alright, I'm happy with
how these melodies sound. Obviously, you can make further adjustments
if you feel like it. The whole purpose of it
was to make sure that we're removing any
unnecessary frequencies, especially the low end, because we don't want anything competing with our
key and be sounds. But the next thing
I'm going to do to this keyboard sounds, I'm just going to throw
in a creative effect just to spice up
the vibe in a way. Okay, that's it
for this lecture. I will see you in the next one.
4. Keyboards - Creative Effects: Welcome back. In this lecture, we're going to start
applying a creative effect. Already have an idea in mind
told us go to the section is 29, till then a three. So what I wanna do
here, I want to add type of tremolo
effect in a way. So I'm going to use the
gross Pete Rose bit. On the warm piano. I'm going to go to momentary, momentary,
right-click momentary. Let's select half bit gate. So what I'm doing,
I'm just applying a good effect to it
using the growth speed. That's it. Just select half p, right, to make sure that
we don't have this effect. Draw the song what
I'm gonna do now I'm going to introduce
you to automation. This is the mixed level for this course
speed when it's 0, there is no gross
bit on this track. So I'm going to
right-click on it. Create automation clip.
Let's look for it. This is the automation clip. Now we'll go to the playlist and we'll create some points. Here. You just right-click
to create a point. We push it to something like 75 per cent to the
same thing over here. Let's do something
Seventy-five percent. What I'm gonna do now, I'm going to remove
the selection tool. I want to show you something. Alright, look at this perimeter. Look at it. When the song reaches
that automation point, the effect is switched on
up to 75%. Let's play. And then it switches off. That's the purpose
of automation. Listened to it always my ****. I know your body, but I know that some
getting used to play without a bad effect. That's the power of using air. Automation when it comes
to creative effects. Because sometimes
you want to order qn one part of the sanctuary. You don't want to
origin the old song. You use automation to
automate anything, even at this level, no beer, you can automate it. You just right-click on it,
create automation clip, and then adjusted tool or the levels you want and
you're good to go. That's automation and creative
effects in FL Studio. One thing I've noticed
when I was playing the drums and the
vocals and everything, I felt like my piano is
not shining that much. So in the next
lecture we're going to start applying compression. See you in the next lecture.
5. Keyboards - Compression: Welcome back. In this lecture, we're going to
apply compression. What is a compressor? Compressor is a tool we
use to do a lot of things, but I'm just going to
explain normal compression. Compression basically,
we are processing the sound to have more
power consistent. Because when you are
recording the sound, these pods where the
highest peak is lower than the next peak and the next peak is lower
than the previous peak. As you can see on this
wave compression, what it does, it helps us
create more consistency. Making the sounds
are more present, more punchy and in your face. Okay, let's go to
the mixer track. I wanted to add a compressor
to this instrument. I'm going to go to
my mixer browser and go to dynamics,
dynamics right here. And when I add a fruity
compressor real quick, I'm going to explain what's what here we have a threshold. That threshold is the point we set where the compressor
will start working. And a ratio is the
amount of compression. This ratio at one-to-one, it's literally doing nothing because the racial works
in this way, one-to-one. That means for every one, we compress of the signal
will let in one pass. So no compression
is taking place. More new, set it to
something like 321. For every three decibels, we are letting one pass. So there is some
compression taking place, still, some light compression
when we push it up, it's crazy compression
21, it's heavy, heavy, that's limiting now, but let's just set this compressor 241, and here you have a tick. This is how fast the
compressor grabs the signal. In this case, let's play the
sound and adjust the Arctic. But for piano is typically use 15 milliseconds like
the way it is now, or use maybe 50 milliseconds. Alright, let's play. There really is, is how
fast the compressor lets go of other signal. How fast or how slow it. Let's go. For this piano. I'm going to set it to them. I don't want it to be superfast, but I don't want it
to slowly or gear, so I'm going to leave it at something like 87 milliseconds. This is the type
of compressor in some plug-ins don't
have this one, but you can just
decide if you want the vintage old school zone in compression or medium
or hard compression, the vintage wine has that old school taste of
a real hardware in a way, Let's leave it at vintage and play while turning
down the threshold. When the threshold
points that are reaching the peaks of the piano, you're going to start to hear some compression. Let's play. Yep. Now compression
is taking place. I'm sure you can hear it's
turning down that sound. Let's play. Go easy. Alright, I feel like it's
true or false for this piano. Let's set it to something
like 50 milliseconds play. Go down threshold. Alright, there. Now you can hear a compression
pushing that volume down. So we are losing volume when you are compressing
because we're trying to create consistency
and sacrificing some volume in that process because the high peaks are
the loudest part, right? So now I'm going to introduce
you to another parameter, which is the gain one, this is the makeup gain. When we are compressing,
we're losing volume, right? Right. I think it's around minus
five dB, minus six dB. Some compresses.
They even give you a signal and show you how much gain reduction
is happening. But in this case, I think
it's minus five dB. Let's do plus five dB gain because we are
losing minus five dB. Yep. Right. Then again, let's
move that compressor up, scroll up and down, hover over it,
scroll up and down, and just make sure it's right
after the parametric EQ. Okay, let's play. Right, let's chop off the top
end of this piano. Let's enable the
low-pass and pen seven. Just leave it as is
just tiny adjustment. Switch off the compressor. Enable it. Right? Let's try
to do six dB gain boost. Switch it off. I'm
pretty sure you can hear now with
the compressor, it sounds more punch, it sounds more present. Now let's played with the drums. Sounds good to me,
sounds good to me. And that is the whole
purpose of compression. And with Dan mixing the
keyboard sound section.
6. 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
