Mixing Vocals in Logic Pro X | Music Production

1. Introduction: Welcome to the Volcker mixing course in Logic Pro. My name is sub-L offset or it's September and I'm a music producer, audio engineer based in Cape Town, South Africa. I've been producing and mixing music for more than seven years now. And they enjoy working with Indie musicians and teaching online. If you're looking to improve your vocal mixes using only stock plug-ins, this is the course for you, whether you in artists who records his own music or music producer, a lead ones to mix four or clients of these courses for you, all you need Is a Mac or MacBook, studio quality headphones or studio monitors. And obviously you're going to need a logic pro. Digital audio workstation software will be using stock plug-ins. Logic has a variety of high-quality stock plug-ins already pre, in step each lecture in the course, we'll have an introduction so that you have an understanding of each and every plugin we use before applying to our mixes kick. So if you're ready to take your photo mixes to another level today, we'll see you in the course. 2. Importing Files & Orginizing Project: Welcome to the first lecture. In this lecture, we're going to start organizing our project for smooth mixing process. Let's say you just receive stems from a client or you are about to start mixing your own work. First thing you do, set a specific time for organizing your project, color-coding everything, and then set a specific time to stat, gain staging, panning and take it step-by-step. Mixing gets easier like vet. Okay, so let's go ahead and open our logic pro software instrument external. No, we are looking for an old your blank template because remember, we are working with WAV files. Let's hit Create. As you can see over here, this is a plank, confused. Okay, let's go ahead and open our browser. Go to All files. Let's go to Desktop for thus, we are more files. Make sure you download the resource attached to this lecture so that you can follow along. Okay, Let's go ahead and add these to the project. Create new tracks. Let's close the browser for more room. Let's Play. All right, before we do anything, let's look for the BPM. The instrumental has the PPM routine. It's 100 beats per minute. We're gonna go ahead and set our project tempo to 100 ppm. The reason why I'm doing this is to make sure that our time effects are in sync with the song temple. By Time effect, amine, your reverb and IO delays. Okay, great. Now we've got that. I recommend this key section, if you will be working with a lot of midi, but this is a mixing section. I don't need that. So you can just set the project tool beat N time. But I like to have it just in case I have to throw in an aura qn. So I'm going to leave it as is, which is beat and project the Song Qi is a B flat minor. I'm going to set it to be flat minor. Okay, great stuff, B flat minor. You can download an app code c0. Find a way to detect, uh, the key of the song. Okay, let's so check this out with just setting the correct tempo, which is made our navigation easier. Okay, so from nine to 25, I know that's mohawk. Okay, 25 and 0, thus Mohawk. Gag and just move this. I can move this. And that is my hook. Okay, That's the beauty of organizing your project before everything. So let's select the vocals, select their fists, truck, hit Shift. And left-click on the last vocal track, excluding the instrument to get, what are we going to do? I'm going to hit right-click assign truck, Kayla, This is before I even go to my mixer. Assign truck color. Okay, I like this color mode. Now you can easily see that these are the vocals and that is the instrumental. Okay, Great stuff. This is the inspector sexually, let's say you're recording. You want to set your inputs, outputs, or adjust effects while you own the transport window. But we will need that. Let's remove it for more Screen Room. By heating I on your keyboard. Hit I to switch it, own it, I to switch it off. Okay. Great stuff. Let's just look with it for now. Okay, you just hover over the highlighted until you see this locator and adjust it to your liking. Okay, great. Now that we've got that are at the way, okay, Let's do the waves also. Colored regions by track. Let's do that to the instrumental also color regions by Shrek, Okay. The instrumental, spare CPU and the vocals. Everything is organized before we go any further, let's go ahead and save our project and select a location for it. Okay, So we're going to say mixing vocals, Zoom vocals. Look for a location. Let's save it to the desktop. Here you can decide if you want to organize your project as a package or a folder. Our prefer organizing it as a folder. Okay. Could be the following files into your project. Audio files, simple audio all Kim audio should be Space Designer impulse, move a file. Now, I don't have a movie file. Include a Poisson library content if you used them on the project. Let's hit Save. Boom. Now, all we need to do to make sure that we're saving the progress. We're just going to hit Command S or Command S or Command S. Okay, now let's organize our mix. Let's hit Command to cut open the mixer. Looking good. Over here you can see that these are more no tricks form of vocals, and that's a stereo track for the instrument tool. So now what we're going to do, we're going to create sand tricks. And these are checks we're going to use later in the mixing to add creative effects like your delays, your revamped. I'm going to show you two ways to do this. First one will be going over, let's go to the hook lead. Hit, Send, and select OK, go via its end. Send to Bus 1 by saying Send to Bus 1 and it automatically creates an ox track. I'm going to rename this to revamp. Okay, Great. And the second way to do it, instead of going over here, we're gonna go to Options, create new auxiliary channel, strip. Boom. It's not assigned to anything. So instead of being assigned to pass 10 plus whatever, it's assigned to, 12, which is your mic inputs. Just go and left-click and say no. Oh, okay. Let's mix up the volume. Hit Option. Left-click, get. Let's double-click to rename. And we say that's our delay track. Okay? Let's choose the colors by just select both of them. Hold Shift, slip, put them aside China's ship color. Okay, I want to strong green for these ones. I like that. As you can see, nothing is going on when it comes to stress. It's because we have incent, any signal. Okay? So to send signal, this is the perimeter we're going to use. Now you can see the signal going to the same thing. If we want to send signal to that delayed trek. We're going to hit bus. Let's select an empty bus, which is bus to 0. Now created a neutral wire, bought it. Let's just delete it by hitting backspace, delete anyway. And select input on this delayed truck bus to. Okay. Now let's send signal rather than credit stuff. I just noticed that my reverb ox is a mono Shrek, which is not what I want. I'm going to switch it from mono to stereo track, because when it comes to delay and reverb will be using stereo. Left-click on this circle over here and turn it into a stereo track. Just get great stuff. So just in case we want to 10 down all the vocals at the same time, or filter the vocals at the same time, or effect all the focus at the same time. We're going to need another AUX track. Okay, so we're going to use this AUX track as the main output for the vocals. So whatever happens in that ox track, if it's the focus only, and then after that it sends signals to the stereo out to get. So what I'm gonna do, I'm going to create Olga's channel strip. I'm going to name this vocal bus. So this is a vocal bus. I'm going to send signal. Let me highlight this shift hold. Let go off the hold and just go straight to output. Left-click, we're going to select boss five. As you can see, it created an empty track which is huge time-saver. Okay, so what I'm gonna do, I'm just going to copy this and delete this one by hitting backspace, it's gone. So this is the vocal Boston and paste that text over year. So whenever you send signal to use the bus, it's going to create an AUX check automatically. All right, For example, let's show in an EQ on this vocal bus, right? Of the top edge of the high end. Let's just in case you want to do some cool effects to the whole vocal chain, you can just apply the effect to these vocal bus Shrek. Okay, so what I'm going to do, let me remove that first. No plug-in. Set the color, size, shape, color. I want it to be the same color as vocals. I like that. Now everything is clear. You know where to find things, you know where to find things. Let's switch this off for now. So the last thing we're going to do before go to the next lecture, we're going to add markers. Okay, Show Hide Global Tracks. I don't need the. So what I'm gonna do, I'm going to right-click over here. Switch off the signature. For now, switch of the temple. And right-click add on the MCA create market. Thus the interim small two by nine Ed. And that will be my hook to 25. It add again. And that's my vis. Let's move to 49. That's my hook again. Okay, and now you can see what's going on and you got your intro, who, you various everything. Okay, Let's hit Command S to save, and that's it for this lecture, guys. See you in. 3. Levels & Panning: Welcome back. In this lecture, we're going to start adjusting our levels and penning. So let's go ahead and adjust the levels tool for the mixer. Blesses. Spin these to the left. Turn down the volume just a little bit. Roll the blesses. The star is two, right? Let's do places that person that Mississippi this row, the blesses, the CTO of a crested day. Should I take the bird gets turned down the leaf. So just 20 dB. I said the places that person, that nurse's role that blesses the CTO of a crested day. For sure. I take the Becky's. Dad is our decimal Marlborough. I charge a fee for service. Gap races in Baghdad is ancestral macro, it is nighttime. Honestly. The Renaissance, He's not. Alright, sounds good. Always remember, it's best to use properly recorded vocals so that when it's time to mix them, you are not fixing u and enhancing and giving them more life and presence. Okay? As you can see, my instrumental peaks around minus 15, minus 12 dB because it's a mix down. Just in case you're mixing over an already must have beat that you downloaded maybe online. I recommend you drop the beat level to at least minus 12, minus 10 dB so that you have headroom to make so gay. But if you're the one making the beads, always record over. Mix downs. Don't muster your beats, just mix them. Live headroom minus eight, minus five. But mass with sport is like minus 12 dB. And then the rest of the headroom will be for mustering. Sounds decent. Now it's time to do the real work. Okay, in the next lecture, we're going to start mixing the lead vocals. So that's it for this lecture, guys. We'll see you in the next one. 4. Lead Vox Processing (EQ, De Esser): This lecture, we're going to start doing the real work. We're going to start with the lead vocals, making sure they are confident, present, and punchy throughout the mix. So here I've selected the loudest part of the song. Right? Let's go ahead and hit Command 2 to show mixer play. Let's solo the vocal and the beat. So the first thing we going to do for every mix, clean up before we enhance. So what I'm going to do now, I'm going to cue the vocal. Okay, so option one to get your EQ on your mics. A track is to go straight to Audio Effects. Go to EQ, select the type of EQ you want. My favorite. It's the Channel EQ, which is a digital EQ. Ok. Option two is the fastest. You just go straight to the EQ. As you can see, every channel track in Logic Pro has these e q, Shrek. Okay? So you just click on this tab over here, the spleen tab left-click, and the channel EQ pops up. And you can see over you get. So what we're going to do with the EQ will go to cut and boost citizen frequencies. But when it following numbers and rules over year with doing things that make sense, every adjustment have to make sense. Okay? For example, we are going to be chopping off the low end from the vocal. Why? Someone is going to ask you why you doing that? There is a new doing that you're removing all the Martinus and the frequencies you don't need from the folks at the very same time, leaving room for the instruments that belong there, which is your cake. And you're 80 Hz get the mid-range. You know, that's where the meat of the vocal ease from 250 watts again, from yet to 20 k. And that is your top end. That's way a shrub sounds are on your vocal. Okay, so the first thing we're going to do now is to chop off the low end just to have a clear sounding Volcker and remove any frequencies we don't need to get, as you can see over here, that's our hypos tool, which is a low cut. It chops off frequencies from the left-hand side, removing the base, the low end, okay? Over here we have a shelf. We use this to decrease or increase the low end. And we have bell adjustments over year to post certain frequencies are cut certain frequencies and you can use scroll up and down to decide how much Q or how many frequencies one to effect with this one perimeter get. Over here, you have the same thing, which is the same thing with this one. That's your top shelf. We're going to use that to cut, cut, boost the top end and the low pass filter, which is a high correct. We cut in from the right hand side. All right. Let's switch that off and switch this one off and play the vocal. Rather blesses as you're playing the vocal, you can see over here, this is a visual EQ, which is what I recommend for beginners, but with time, and I'm sure after this course, you will get an idea of what's going on when it comes to mix into a point 0 Pi, you will need Visual EQs. Okay? I'm about simplifying mixing up, but I want you to use a visual EQ for status. But with time, I want you to gain confidence by not relying on them, okay, just use them as a secondary tool. And your primary will always be your ears. They never lie, okay? As play blesses, God, this is where you switch off your analyzer. Other blesses, this is where you switch it on. Bravo, the blesses, God. They never stop going. If that she yours. Show. I take the package and then I go I get the Baghdad is a great staff. So the first thing we're going to do, we're going to cut the low frequencies. Okay? We can use the mouse. Left-click hold. Again, scroll up and down, or two fingers on the truck bed to adjust the knee or how sharp this cut is. For more adjustments, you can just use these perimeters over here. Cut to post, and to adjust EQ. Okay, great stuff. Let's play the vocal. Rather blesses. They never stop going. If that's yours, a fresh day. She first show, I take the package and then I go, I get the bag. I deserve stressful Marlboro, a reserve, and charge a fee for service care. We're getting more clarity just by removing that low frequency information. We don't need to care just in case you're wondering, what are you removing? Because I can see anything over here using my analyzer. Check this out. Let's enable their high cut. Chop it off until 8100. Let's play. Again. When you increase the volume of your headphones or speakers, you can hear that there's something going on there, but it's low information we don't need from the vocal. Okay. So let's go back and do our current which was to something to 200, 1600 for browser blesses. You. Remember, I don't stick to any numbers. Voices are different, so only make adjustments that make sense to you. Okay? We're using the low cut to remove frequencies with a need from the low end. At the very same time we're creating a tone in a way we want a more clear standing out vocal. Okay, let's play browser blesses. They never stop going. If that she yours, right. The second thing we're going to do, we're going to sweep around the mid-range, look for any POC seem muffled sounding frequencies. Remember to adjust the queue or the amount of frequencies affected by this adjustment. You just use your two fingers on the scroll pet or scroll up and down with your mouse. Okay, let's post sweep around, look for any boxy muffled sounding frequencies and just tamed them a little bit. We're not removing them, we're just going to tame them. Okay, let's play. Brother blesses. They never stop. Go and get your clothes a fresh the day that she was show, I take the package and then like go, I get the Bagua deserve stems from abroad. We deserve I charge a fee for a serves the appraisee the analyzer. I get the Bagua reserve the steps for mom, bro it is I charge a fee for service. They proceed any deserve probably around 280. What I'm going to do, I'm going to use this perimeter away. A more accurate adjustment. I'm just going to do minus 20 dB, okay, I'm adjusting it and mudra moving it can't just minus 20 dB. A lot of people get this wrong because they will do it and every vocal and sometimes some Volcker's, some good without doing that cut. Some people are confused by the fact that if you posting the frequency, obviously the whole signal will sound bad. So don't go crazy with the posted display browser. Blesses. They never stop. Again. This is to create more clarity. Okay? So the third thing we're going to do, we're going to look for a knee frequencies. We can get away with boosting just to end more presence to the vocal care. Probably the blesses. They never stop going. Get your, again, your two fingers or your mouse scroll up and down to adjust the amount of UQ care. Why didn't narrow it? Narrow it. Scrolling down two fingers down on the truck bed. Okay. Let's go ahead and post browser blesses. They never stop going. That she yours a fresh day. That's shift right there. 1760. Sounds good to me. So what I'm gonna do, I'm gonna go straight to this TB perimeter and just to 1.5 dB boost. Browser blesses you see how that sounds. Going, get it. Tell us or just the, the Q, widen it a little bit. Let's try 20 dB. Blesses. They never stop going. If that's yours, a fresh day. Way more. Rows. In the show. Oh, purpose of mixing with trying to make sure everything works well together. Listening to the vocal, and you can see that might've taken away a little bit more than we should have from the low end. Okay, so what I'm gonna do, I'm gonna, is of the low cut a little bit together while playing with the Rosa. Around 155 heads. I feel like now we can hear the low tone from the vocal. Sounds good, but I think we can get away with boosting the top. And just to add more pi to this photo, Let's switch off the beat again. Probably the blesses. They never stop using the top shelf. We're going to adjust. But I want to start cutting or posting or 9.9, 10 K. Okay. I'll tell you why later. Okay. Let's boost as go crazy with it. Blesses. They never stop going. If that's yours. A frosted phase shift for show. I take the package and then I go I get the bag, I deserve a stay-at-home mom, bro, It is her switch it off. Roll the blessings. Such a pro the blesses, you. Go and get yours. A frosted. Phase shift for show. I take the package and then I go, I get the bag, I deserve a read. That top shelf boost, edit, some bite and more brightness tool, the Volker. Okay, there isn't a deed that post after nine K. It's because we also have sharp Ss on this photo. I want to be able to compress this SRP Ss, soften them without affecting what I did here. Okay, so I wanted to get the brightness would just posting those frequencies and not affect the 4 to 8 K range. Okay, listen to it. Probable that blesses with the bid. Great stuff. So the next step, we're going to add a compressor. Instead of using the EQ to soften those edges, which will be a permanent adjustment to the mix. We're going to use cold press a plug-in. This compressor plugin is a DSA. Yes. A DSA is a compressor that can focus on a specific frequency and manipulate that frequency. Okay, gonna go straight to the Audio Effects, go to dynamics. And we go in to use the DSM to k. So the amazing thing about the DES, it gives you way more controlled. Way more control because it only at a specific frequency that has the sharp frequency urine need from whatever track. And only when that frequency pops up, it stops working. And when that frequency is not there, the vocal or whatever instrument plays at the same level. Okay, so what I'm going to do now I'm going to play solo. It blesses. They never stop going. If that she yours a fresh the day that she would show. I take the package and then I go. Okay, As you can see, the factory default is already set to say a van k. Remember frequencies seven K, scope it to the EQ, and these are the frequencies we're talking about. So seven K is around, yeah, That's where the DSI is set at the moment. It's set to compress only that frequency. Okay. I want you to have a visual of everything I'm talking about. We're not doing guesswork here. You gotta know why you're making adjustments in your mix. Okay? So let's play with the blesses. This is a threshold. This is a point where the compressor, in this case a DSA. This is a point where your Ts I will set a D S in compressing that sit in frequency, the max reduction, this is the amount in dB's. You will be reducing when that frequency pops up. Get over here, you have your filter. This is a shelf, as you can see. So a shelf will be affecting frequencies from the point we selected and the neighboring effects. And this is a bell type of filter. So this one focuses on the specific frequency was selected, okay, and this is a filter solo. This is where we'll be able to hear only the frequency in solo when we find it and switch it on to hear it with the whole vocal. Okay? Yeah, this is a range, wide range means affecting a wider range of frequencies. The split is focused on a specific frequency, okay, manipulating that frequency. So let's play around with the brushes. They never stop. Go and get it. If that she yours a frosty day, right? I want you to hear this working. Okay, let's solo this filter. Roll the, blesses, the Nova, stop. Going. Good. Your butt. Seven kids, the one for this photo. So let's start from five K. Because normally five key to seven k, That's where you'll find most sub S is a ketose play pro the blesses. They never stop going good. Let's go crazy with the threshold reduction so that we can hear what's going on. Bro, the blesses, the Nova. Going good. If that's yours, a festive day. I take the package and then I go, I get the bag. I deserve steps from abroad. He deserved we found it. Blesses. Let's mix reduction minus 17. Bro, the blesses threshold. Let's do some like crazy, crazy. Bro, the blesses, they never stop going good. As yours. Rested. Day. Show. I take the package and then I go, I get the bag. I deserve stressful Marlborough it is I charge a fee for a service. Then I deserve I get the Bagua reserve steps Pharma. Bro it is I charge a fee for service, depressant, any deserve. Okay, let's make the adjustments. Listening to the oval coca, let's switch off the solo. Rather blesses, they never stop going. Get your right mix reduction. Let's do some leg 15. Bro, the blesses, you also go. Bro, the blessing row, the blesses row the blesses. Yeah. They never stop. Go and get it. If that she yours, a frosted day without the DSA row, the blesses you. With the DSA bro, other blesses. Yeah. They never stop. Go and get it. If that's your looks quiet and select the wide range so that you hear the difference. Bro, the blesses, you. They never stop. Split again. Rather blesses. They never stop. Small controlled on split and wide. It's affecting way more frequencies that we need k. Let's play. It's made with the beat. Extra tax shield is 2 minus. Let's do 15.5. Now the vocal, when it comes to those sharp. And here before and after, Let's play with the effects. You do. What sounds good? Again? E. And we have achieved these to plugins and EQ and a DSL, which is a compressor. Now you know that the DSA is a compressor, okay? And there are no matrix to these, uh, want you to understand each and every plugin, what it does so that you have an open-minded approach when it comes to mixing. So in the next lecture, we're going to start adding more consistency. It's time to make this focal sound like the boss eddies because this is a lead vocal. And guys, that's it for this lecture. See you in the next one. 5. Lead Vox Processing (Compressor, Saturation: Welcome back. In this lecture, we're going to start adding more consistency amplitude to the vocal. Remember this is a lead vocal when IT to pay more attention to it before everything else. Okay, prioritize, prioritize K12 mixing. So let's play the vocal, right? Remember, this is how the vocal sounded like before we did our thing. And this is how it sounds like magic. Magic. But it's not, you know, we did some work on this vocal. So guys, now it's time to add compression. Which is where animal favorite plug-ins, EQ, DS, a compression. Those are the plugins you need to master when you muster those. I feel like everything else comes is alright, great. So let's go to the dynamics. Will go and I go to compressor mono, this is a monosaccharide compressor. As you can see, we have different types of setups of this compressor got vintage up to teach a fatigue if you see a classic VCA. So these are different types of compression setup, modelling, hardware compressor. So care, but let's focus on platinum digital, which is a digital compressor. Okay, so the whole purpose of the compressor, it's to add more energy to the sound, create consistency, and boost amplitude. So basically in the vocal we have bots that are low and we have parts that are super high. So what a compressor does, it brings dow the high peaks and brings up the low sounds for a more consistent sounding instrument or bulk, you don't want to overdo it unless you have a reason to. So over here you can see we have a threshold. Threshold. It's the point where the compressor starts working, okay? Over here we have a ratio. A ratio, it's the amount of compression, two to one, that's light compression, four to one, that's decent compression normally used on vocals. And it being above 0 to 1 dot is heavy compression therapy to one. Now we are limiting, we no longer compressing. This is the makeup gain. Makeup gain means the compressor what it does basically, it reduces the volume because it's cutting the peaks and the makeup gain it's to make up for the volume will lost when we're compressing. Okay. Yeah, this is a knee. The knee It's an adjustment. Remember on the EQ scrolling up and down, basically the knee, It's exactly that we are adjusting, how sharp the compressor is compressing, or how gentle the Calvi's when it compresses and you have your attack. The attack, It's how foster the compressor grabs the signal. And we have released OVA. And this is how fast the compressor lets go of the signal pet to the original signal after compressing. Okay, we have our two-year wouldn't want this one or 00 to release a want everything to be minute. Okay. Because we engineers, you know, we can do this ourselves. So each of the auto or to gain, switch it off R0 want anything in auto grade stuff. So let's play the vocal. Blesses. They never stop and go. I want to show you something. It's switch the, switch, the ratio of blesses. Okay, Let's go crazy with the threshold. Rather blesses, they never stop what's happening. Nothing, because the ratio is off, is nothing telling the compressor how much should you compress when you get this signal, okay? The threshold is nothing without the ratio. Everything is connected. Again, gets played. Browser blesses. They never stop the input that she yours, right? Let's set the threshold to S2, 3, 2, 1. Okay? So for every three decibels that we get, let us only one go. All right, cool. Let's play pro the blesses. Yeah. They never stop. Go and get your careless go crazy with the threshold because I wanted to hear pro the blesses. They never stop. Score is again. If yours a frosted day shift for show. I take the package. Yeah. Let's do a super slow attack and play pro the blesses. Yeah. They never stop. Go and get it. If yours, as you can hear that the compressors that's compressing later after the vocalist started playing. Okay, just to something like 10. I think it sounds good places. They never get the release. Let's push it straight up. Rather blesses, you. Look at the star, go and get your, it's holding the signal for way too long. Let's set it to 100 milliseconds. Let's play rather blesses. Yeah, They never going get it. I feel like that's decent. Okay. So let's go easy on the treasurer. Let's do something like minus 20 TBA. Browser. Blesses. They never stop. Go and get yours. And the knee is to adjust how sharp the Calvi's when we are compressing. Okay, let's switch to graph. This is the knee. This is what it does. Is a super sharp knee. This is a soft knee. Okay. Great Spirit to the meter. Rather blesses. They never stop to the right side. As you can see over here, we do have an option to switch on the limiter, set the threshold to make sure that the vocal doesn't pass certain point to care avoiding distortions and everything switched off over here. We also have a distortion. Normally, when I'm mixing vocals, I like to do parallel processing, whereby I'm sending this signal to another trick. I'm sending a copy of the signal to another trip over compressed that signal, for example, assigned its parallel processing or distort that signal and mix it with the original signal. The beauty of this compressor has a that in the plugin which is a distortion. I could just search on this distortion and use this mix knob to blend it the distributed signal with the not distorted signal if that's a web, okay, now you know what the compress it does, switch off the distortion. Let's start doing some whack a guy's real quick before we continue, you will notice a few minutes from now or think for about three minutes will be making adjustments. You won't be noticing a signal change. And this is because accidentally switched off this mix knob completely. It's supposed to be at least around year 50% for the plugin to have an impact on the signal chain. And the higher you go, the higher the distortion mixed with the compression is on the signal chain. Okay? So please, before you continue, set your compressor to 50 percent, all right, let's continue. Browser blesses. They never stop going, right? Let's do some like 24 minus 24 glasses. They never stop. Again. If your, alright, let's increase the ratio. This is a vocal, is 2.14 to one. Bro other blesses. They never stop. Remember what I said at the beginning, everything works to give. You might assume that you need to push the threshold more. Where as you need to push the ratio up. Like in this case, browser blesses, Yeah, They never going get it. Now we're getting close to minus 5, minus 6 of gain reduction. Browser blesses. They never stop. Go and get it right. Let's set the release. Feel like it's letting go way too quickly. Rather, blesses, they never stop. Here. Let's set ten to 15 browser blesses. Yeah. They never stop. Go and get effects she eat, right? It's two of the threshold for the one problem that blesses you. They never stop. Go and get yours. A frosted day. Fast shift to show. I take the switch off the compressor. Browser blesses. Yeah. They never stop. Switch it on. Pro the blesses. Yeah, they never stop. As you can see over here, the gain reduction is activated when you start adding compression. Browser blesses. They never stop. Go and get yours. To make up for the gain we lost by reducing up to. Db. So we're going to boost four dB, boost. Yeah. He felt she did. That. She now as you can hear that the vocal present sound more punchy to switch off the compressor and play. In the show. In five dB boost row that message. I get the bag, I deserve this room and I change the frequency. And as you can hear that the compresses, adding thickness punch, ripped up a heating effect when you listen to the vocal with the compressor. Okay, so what are we going to do now? Let's see if we can get away with adding distortion to this photo. Browser, the blesses. Yeah. Alright, let's add soft distortion. Blesses. Yeah. They never switch it off. Blesses. Yeah. They never switch it on. Blesses. Yeah. They never felt she would that solve distortion that some decent It's add in some saturation effect to this already compressed for CU. Okay, let's switch it off. Blesses the bit at the compressor, rather than arrested to something like 24 dB threshold to 60 beats. Now the vocal sound. But please make sure that you switch off or to gain in one or two, we want to be in control. The last thing we're going to do, I'm going to add another compressor just in case that distortion effect edit some low noise, okay, to be safe. So we're just going to do and 50 cut the effects. This is before and this is how it sounds. Now, compression you can hear that S is just a little bit more. So are you gonna do, I'm gonna five K on the EQ. Let's not use this one is use these. Narrow it a little bit. The street to the right. We're just going to a key role. In the back row, the rows, the basis in GDB. I like how that sounds, and that's how you get a punchy, competitive and energetic focus. In the next lectures, we're going to start mixing the backing vocal. Then we'll go on to there. Okay, so that's it for this lecture, guys. I will see you in the next one. 6. Backing Voc Processing (EQ, Compressor, De esser): Welcome back. In this lecture, guys, we're going to start mixing the backing vocals that are supporting our main lead hook vocal. Okay, So let's switch of the solo and play everything. And I get the Baghdad is this 1 first? Okay? Make sure its center first plug-in I'm going to add is an EQ, okay? Yeah. All right, What we're going to do here, Let's chop off the low end and play. Yeah. She I'm going crazy with the low cut because a 1D, some type of telephone radio effects TO the backing and tracks because I don't want them to with the main focus. Okay, So I'm going crazy with the low cut and I'm going to do the same thing with the high cut. Yeah. Okay. Yeah. But I don't want it to sound cool. Filtered. Yeah. Okay. Let's play it with the main vocal. Yeah. Yeah. They never stop. Go and get your kale its center the second pecking, it's edit to the mix. Also, I'm disallowing all the vocals because I want to hear what I'm doing is working with the lead woke up because I don't want anything competing with it. I just want these guys to complement the lead vocal. So I'm going to go ahead and add an EQ over here. Do the same thing. Browser blesses. Yeah. Yeah. They go and get arrested as she for sure. They never stop. Yep. That's your strip off the top. Right. I don't want to go crazy with cutting EQ on this one. Let's see if we can post to the midbrain. And this one. They never stop. Two fingers scroll up and down on the trip pet. Scroll up and down with your mouse to adjust the bend narrow or wide. Then every star in that for sure. Now go against the bag. I reserve stands for Marlboro is our I charge a fee for service. They proceed NAD is RV. I get the Baghdad is RV steps for Marlboro? It is RV. I charge a fee for service. Yeah. Debra's it NETs RV. Then we'll stop. Right. That sounds good to me. So I went to play it with the vocals. Browser blesses. Yeah, yeah, they never stop. Go and get us push that one to the right. Plus 20 blesses. Yeah. Yeah. They never stop. Go 25. Probably the blesses. Yeah. Yeah. They never stop. Go and get your rested. I want to use the stereo field. That's why I'm panning so that the mix sounds more alive and interesting. Okay, let's push the specking. Better. Five discharged minus 35 TV browser blesses. Yeah, yeah, they never stop. Go and get a fresh, right? Let's try to do telephony effect with the one region radio. Okay. Let's chop off the top end. This is how you do that. Telephones on effect. Sharp of a lot of low end. Let's Play. Yeah. Wrong because it isn't the same as chopping off the top end. All right, That's the telephone effect. Let's see it with the bit real quick. Alright, control, Save, remember to save your progress. So what I'm gonna do, I'm going to duplicate this ts. So setting this is the same vocal. Hold Option, left-click drag to duplicate it, or Option left-click drag to duplicate it. Right? Remember, we don't need it to DSA on these baking tricks. For example, this one, the top n is already chopped off. On this one, we do have top end, but not a lot of sharp edges. Okay? So it's ridiculous to have this TSM do everything for erasing. For example, look at these AQ. We don't have to add, why do we need a DSA? We don't. I wanted you to see me making that mistake just to test if you can notice it. Okay. We don't need the ts on that one. Let's see a at this one. Then. Now let's start Some good. So what I'm going to do, I'm going to copy these compression and it will adjust the setting accordingly if these and neat, I'm going to hit Option, red, option, drag. Okay, Let's see what it does. For sure. I wanted to switch off the distortion on these compressors. Remember, you know what that compresses doing so you know what to adjust if thes and need DSA. So I'm adding more energy to those big checks, but still remember. So let's play with the beach and everything before. And this is the fast yes. So we applied remember, I'm just going to go a little bit more crazy with the Trish. Hold its place. Okay, we have two S's now we have two S's in that same place because of this backing vocals. So we'll just go crazy with the threshold and this one also on this Ts. So it's this trick over here. Now this sounds like we are going somewhere. This sounds like we are going somewhere like what's going on. Okay? So you can hear that there's more energy amplitude and consistency tool with the backing tracks, but still they are not competing with the main focus is rather we're definitely going somewhere, guys. So let's go ahead and select the section. All right, great stuff. In the next section we're going to start mixing a diverse, making sure everything sounds more consistent and punchy. Well, that's it for this lecture, guys. See you in the next one. 7. Rap Verse Vox Processing EQ, De Esser, Compression: Welcome back. In this lecture, we're going to start mixing their boats, which is the red part of these. Let's play. These rocks made. I met him, Tommy was still paying a Ghazi better off. Paying is crazy on his leg is prepaying the Renaissance. He's not a main man. Rather Villa. Right? Let's go straight to the mixer command to these rocks. May I met him? Was there. All right, Let's go ahead and add an EQ. Let's solo the verse 31, an EQ. Remember how we do we just go straight to the EQ, tap, left-click, pop up, thus the Cheonan, the EQ. Let's go ahead and play. Yeah, All my homies rocket Street made. I let him talk and was a CFA. It doesn't matter. You still pay a does it better off? Still paying is crazy. I never feel like how the P's and T's are surrounding these so big this on strong, but the pop filter monies to remove the unnecessary plosives, what those so wouldn't need to chop them off. So let's go ahead and cut the low-frequency. Yeah, AMA homies rocket Street made I let him talk and was as CFA, it doesn't matter. You still pay something around a 156. That sounds good. I don't want to go crazy with cutting off at the low end on this one because I feel like that's the essence, that's where the energy is. Yeah. All my homies Rocky Street make I'll let him talk and was SCF procedure that it doesn't matter, does it? Yeah. All my homies rocket Street made I let him talk and was as CFA, it doesn't matter if we still pay, uh, does it better off still paying? 157 sounds way too good to me. Okay. Now let's just know that it's burned. It's super. Alma. Look for any books is sono frequencies. Okay. Yeah. All my homies, Rocky Street made I'll let him talk and was as CFA, it doesn't matter if we still pay, uh, does it better off? Still pride there to 68 to 70. That's just 2 minus 20 dB with doing that for clarity, when it removing the frequency, we're just keeping it down and for you, but yeah, all my homies Rocky Street made I let him talk and was as she okay. Let's see if we can get away with boosting over year. Yeah. Ama homies Rocky Street made I let him talk and was as CFA. It doesn't matter if we still pay, uh, does it better off? Still paying is crazy. I never fills saying homies like is prepaid. The ribosome is not a main man. I'm the new drug available right there, the place where you can hardly even hear that these are post going on like that because there's no resonance effect, that effect we don't have that. We can post it but for more presidency, yeah, AMA homies rocket street may just do two dB boost. Yeah. My homies rocket Street made I let him talk and was as shear Fei, He doesn't matter who still paid, uh, does it better off? Still paying is crazy. I never fails to save your progress. Yeah. All my homies, Rocky Street made sounds good to me. Let's go ahead and use the top shelf or less. Okay. Good. Let's narrow this one. Yeah. Let's boost all my homies rocket Street made. I let him talk and was as shear failure, it doesn't matter. You still paid? Uh, does it better off? The still paying is crazy. I never feel sad. Pairs now home is fill at the top and posttest, adding more bite to it plus four, It's crazy, but I like it. Yeah, All my homies Rocky Street made and let him talk and was as shear failure, it doesn't matter if we still paid, uh, does it better off still paint without the EQ? Yeah. All my homies rocket Street made. I let him talk and was a sheer Fay. Yeah. All my homies Rocky Street made I let him talk and was as shear Fei, He doesn't matter who still paid, uh, does it better off? Still paying is crazy. I never fills saying a pesto home is like is I like it okay. What to do next? You know what we do next, we'll go into Edit compressor, which is a DSA. Great to software on our S's. Let's play. Yeah, All my homies, rocket Street made. Okay, a refresher. Remember the threshold is the point where we start compressing, reducing this sharp Ss that makes rejections the amount of reduction. We're going to apply the frequency, its specific frequency, where we're finding our shop Ss. And here we have a filter that's the low shelf. And that's a bell filter, which is focusing on deepening a specific frequency. Okay, there's the filter solo if we want to listen to the specific frequency range. Okay, wide means we're affecting this. Specific for a specific frequency and the neighbor frequency split, we're focusing on that frequency. Let's play yeah. Ama home, you just go crazy. Yeah. All my homies rocket Street made I let him talk and was a shift Fei He doesn't matter. We still paid, uh, does it better off? The still paying is crazy. I never fill saying a pesto OEM is lag is prepaid. The realism is not a main man. That default seven Kate frequency is on point on this team. Yeah. All my homies rock Street made I let him talk and was as shear fade, threshold is called Easy little bit. My homies Rocky Street made I led him to Logan was as shear failure. He does a metal was still paid. Uh, does it better off? The still pay is crazy. I never fear saying I switch it off on my homies. Rocket Street make sushi. Yeah. Oh, my homies Rocky Street made I let him talk and was as shear Fei, He doesn't matter if we're still paid, uh, does it better off? Still pay is crazy. I never fear saying a pesto home is lag is prepaid. The ribosome is not a main man. I'm the new drug are villa, Lil Wayne, see me or my neg sexual. We be some dangerous gases if we talk in record label. Sounds good to me. That's played with the bit rockets made. I met him was as shifting. It doesn't matter. Still paying a does it better off? The silk painting is crazy on his leg is prepaying the Renaissance. He's not a main man. Rather villa, Lil Wayne. We suck in record labels. They want me. You don't meet with the Word was God nowhere. I want to write that ds is doing an amazing job. Okay, so what I'm going to do now we're going to add compressor. Okay, we're going to use the digital Compressor. Let's go ahead and compress it. All right. I don't know. Good refresher with the compression we doing gain reduction so that we have a close to even signal whereby the pics I a bit squashed down and the valleys, which is the low, sounds a bit in crust to match at the peaks, but not exactly just to create consistency in the vocal track I was playing. As you can see these light compression going on. Let's increase the ratio, which tells the compressor how much it's supposed to compressed four to one. It's decent compression and normally use it for vocals and a recommended for focus. Anything above ten to one dots limiting that's heavy compression. But you can only do that to achieve a sit in effect, okay? Makeup gain is to make up for the gain would lose when you're doing the gain reduction, which is compressing in this case, and the knee, It's how sharp with doing the compressing. Okay, That's the knee, the attack, how fast the compressor grabs the signup. We're going to set it to 15 and the relays is host low. The compressor lets go of the signal back to the original signal. Okay, let's switch off the auto release. Off the auto gain. We're doing everything manually. All right, let's play the music. Rock. So low that yeah, All my homies Rocky Street made, I let him talk and was as shear Fei, He doesn't matter if we're still paid. Uh, does it better off? The still paying is crazy. I never fear saying there's no home is lag is prepaid rent, that is a minus five dB gain reduction. I'm going to do the same thing with the makeup gain. Plus 550 people said, yeah, All my homies Rocky Street made. I let him talk and was as shear Fei, He doesn't matter if we're still pay it as a switch it off. Yeah. My home played with the bid. Save your progress Control S, or Command S. Sounds okay, but with the compression and see it, It's more present. Get the next thing we're going to do, we're going to add some saturation distortion to add thickness to this sukha. Let's go ahead and set it to 100 distortion. Let's go soft distortion. Male. Hey, it doesn't matter if we still paid. Uh, does it better off? Still paying is crazy. I never fills saying our past our OEM is lag is prepaid like that. Let's save it. Let's adjust the mix, okay, instead of two in parallel compression whereby we sending duplicates signal over compressing it and mix it in with the original signal to create more on this compressor already has a distortion, okay, 50 percent, It's whereby we're mixing these two or should the processing with the original signal. Okay. To pursue how my homies Rocky Street made, I let him talk and wasn't she It's a mix knob. Let's do 70 percent, right? Yeah. Oh, my homies, Rocky Street make I'll let him talk and was as CFA, it doesn't matter a if we still pay does it better off still paying off the distortion? Yeah. Are my homies Rocky Street with the distortion. Yeah, AMA homies, rocket Street made the vocal slips more. Okay. Let's go back real quick, real quick, real quick, real quick. School to the hook. I go to the other blesses. They never stop going. Get it. Right. I don't want that difference to be that. Yeah. The mix is 70 percent yeah. Distortion. Great. Bro, the blood like it. Let's go back. And we're going to do the same thing with deed, which is adding a second EQ just to remove any low noise that came with that distortion, we're going to hold Option. Left-click drag to duplicate what we did over here with this EQ. Okay, Let's Play. Yeah. My homies, Rocky Street made I let him talk and was there. She Fei He still paid. Uh, does it better off? Still pay is crazy. Saying, let's play it with the bit switch off, all the efforts made and let him Tanya was still paying a does it better? Still paying is crazy on this phase lag is prepaying the Renaissance. He's not a main, main way via my name is engaging with the infant. Yeah. Oh, my homies rock Street made and let him talk. And was there a shift thing? It doesn't matter. We still pay, uh, does it better off? Still paying is crazy on a test are always lag, is prepaying the Renaissance. He is not a made man. I'm the new drug La Villa way. So me and my neighbor search. We be some dangerous gases. We talk in record labels. They want me dead. Grow the lesson. Now it's time to add some excitement to the mix edu, or spicing up the vocals, making sure it sounds like more than times. Okay, and the next lecture we're going to start doing some peach tightening. Tightening. Because I won't be like doing Correction basic and I will be doing pitch tightening. That's what I personally call it. We're going to be doing some auto tuning control, save, save your progress all the time. And I will see you in the next lecture. 8. Vox Processing Pitch Tightening Correction: Welcome back guys. In this lecture we're going to start doing some pitch correction but won't be correcting it. So what are we going to be doing? Will be pitched tightening, making the pitch sound way more tight. At the same time, adding an effect to make the vocal sound. Mom morning. Okay, so I'm going to start with the lead vocal. When to go straight. Let's sort an IT pro the blesses, great, don't worry. We're going to use a stoke plugin. You don't need untar it or accused for this situation, we're going to use a stoke plugin. You're going to go over here, go to pitch Correction. Mono, browser blesses. They never stop. Right? This is pitch correction. It's the same with already qn. So remember in the beginning I mentioned setting your key signature. Yeah, we're not working with midi, but when you're mixing a vocal track, especially a melodic one, you might want to know or keep it on display. What's the key of console? Just in case you need to use an odd QED plugin because it has to be in key. Okay, so this is an auto-immune plug-in browser. Blesses. As you can see, it's displaying the notes, the vocals are hidden. This is to decide if you want to know mile or low range, okay. So no mileage is in the center of the piano and the low range is in the low end of the piano, and it's the setting range I use for my vocals in most cases. So I'm going to set it too low. On scale. We're going to set it to my care. We're going to set it to minus, let's say natural means scale, that's natural minor scale. Remember the key, it's B flat minor. You're going to set to be flint mine. Now, what is B flat minor? It's a shop basically. Okay. This is B flat minor, Asia. Great. Over year you have your slow response or first response plus the amount of REQ and you're going to apply, again, this is the DQ and to change the octave, the tone of the vocal. Bro, the blesses, they never stop going. If that she yours editor default. Great stuff. Okay, so what are we going to do now? We're going to start applying the RFQ. Browser. Blesses, remember, slow, almost no order q and fast. It's a lot of order. Q. Let's play. Browser. Blesses. The they never stop going. If that she yours a fresh the day that she would show. I take the package and then let go get the bag I deserve. But I don't want the robotic sound for this vocalists going to mess it up. That's not the goal with the trek. I just wanted to be there just to tighten the nodes can add a bit of modern sounding effect to it. Okay, so I'm going to set it to around, Let's do something like 70 browser blesses. They never stopped going because I don't want you to hit a browser blesses. And another quick trick plays. Make sure after you done mixing, add your order Qn and push it up as the first plugin. So we're gonna say left-click hold. Go up. If you drop it here, it's going to replace this one co-op again. Look at it. Now it's at the top, leave it there. Now it's the first plug-in before everything else. I didn't add it as a first plugin because I wanted us to process a clean signal and then add an auto QED. Okay. Esco browser blesses. They never stop going get if that she yours a fresh the day that she was show. I take the package and then go I get the bag. I deserve a stay-at-home mom, bro, I deserve charge a fee for a service there prezi then I deserve I get the Baghdad Observer stems from my bro it is RV. I charge a fee for service to present any deserve probable that blesses. They never stop. 0202020 milliseconds. Sounds way too good to me. Okay. Let's play is played with the bit. That's okay, Let's go easy. It's adding Bad Robot feel. Okay, I wanted to be there, but I want it to be just slightly. There. Was a blessing. Now 140 milliseconds row the blessing. Good. Day. Shift to show. I take the package and then I go I get the Baghdad is decimal, Marlboro is deserving. I charge a fee for service there prezi then I deserve I get the bag, I deserve this Pharma Bro it is RV. I charge a fee for service to proceed any deserve to trucks also. So I'm going to hold Option, drag it, drag another copy, and then make sure it's the first one. Drag it. If it's on top like this, going to replace it, go again. Do the same thing over here. All right. We don't need it for the rubber. This browser browser. Can you hear it and that, and that filtered take the radio effect when now it sounds uw. Listen to it. Sounds good, it sounds good. Wow. And these are all stock plug-ins. That's what I love about logit. It has a lot of reliable and modern sounding. If it's okay without the dq1 sounds to use, it sounds okay. But with the auto cured browser, Sounds like to debt. Sounds Modern, sounds more than, and that is how you apply the oracular. Always make sure you know the key of the song you are mixing, even though you're a mixing engineer. But please ask for that key. All right, and that's it guys, for this lecture, we're almost done. Now it's time to add the reverbs and the delay to the final adjustments. And we're good to go Control save your progress. And I will see you in the next lecture. 9. Creative Effects Reverb: Welcome back. In this lecture we're going to start adding Ravid effects. The reason I'm only adding creative if it's now, because I want you to develop a habit of adding creative if it's while you are mixing, which can lead you to think you can hide bad mixes with a revamp, say. So first, do the basics. Mixing your EQs UTS is you compressor when the song sounds good, and then you can start adding creative effect to spice up your mics. Okay, so let's go ahead and go to the mixer. So the first thing we're going to do, we're going to go to our Shrek and look for a reverb track. You have a lot or revamped over year. But my favorite is the Chrome River app. You can play around with the reverb, but I recommend sticking to what works for you. Okay, so this is an AUX track, which means stereo track and eats reverb. So make sure it's stereo rates of these adjustments. I like doing my own thing. To audition this reverb, we're going to send some signal. So the input yes, Bus 1 on this abstract. Let's solo protect the ox track. So we're going to hit option, sorry, control. Left-click on the solo. Control, left-click on the solo. This means these trucks a solar protected. Whenever we solo these tracks, these tracks will still be active. Okay, Let's solo the main laid browser blesses. As you can see it there is a sense. You just go over here. Left-click. Select bus one shows here. Plus 1 is an input to the ribs. Okay, let's play browser blesses. They never stop. I'm sure you might have noticed. Nothing is going on because we're not sending any signal. We're going to use this perimeter over here. This tiny, tiny, tiny Norba, left-click, push up the volume. Now we are sending signal. Okay. Probably blesses. They never go. Let me explain the reason we're using ox tracks or send threats to apply effects like reverbs and delays. In most cases we're going to use one or two reps and two. Reverbs can be heavy on your process if you have them on like 15 or 20 trucks. So we use obstructs to save CPU power also get. So let's go ahead and play. Probably the less. They never stop. As you can see what it does, it's emulating a room. This is a digital reverb, but it's emulating a real room. That's why it sounds like this. Probably less. And you might be asking, why are we using revamped and vocals is to add depth to the trick. K, It adds more depth. Let's play again. Probably. Switch off. The web. Browser blesses, suit your own browser. Blessed. Sounds like it's taking up more space in the stereo field. That's the whole purpose of using revamped, okay, but I don't like the sound of this one. Let me show you how this works. Fist, what's what, okay, over here you can see you have a dry signal browser, which is what we don't need this as a sin truck. That's why it's non-zero. And this is the wet level. This is the, um, browser verses. They never vista. And again, this is a centric. We are not going to test that wet level. We're going to keep it on 100 percent if want to decrease the amount of reverb applying to the Volcker, we're going to decrease the sand input was sending to that trick. Okay, So the wet, we're going to leave it there. The distance if the amount of distance. So a close distance sounds like this. When it comes to revamp, imagine a room. Browser, blesses, they never stop. It's not reverberating a lot because this is a 0 like close distance. Let's increase the distance. Browser, Let's go again. Probably going. That's your furthermore, you increase the distance, the more wider the MOOC beaker, the reverb is small like we're in a bigger room. In a way, get close. Browser blesses IT. Web browser, less. Probable. Distance again, 100 percent, probably, unless they get and we have a TK NOP, a decay. It's more like a tail, It's a reverb tail. If you know what a sustain is when you pressing keys on your keyboard, It's more like that. Okay, So let's switch it off, which is a fast decay time display. Promises, blesses thing. Slow one. Probably. That is a lot of dk, but you can use these to create an effect, let's say, to create a troll, It's a snare hits. You can use decades to get that impact. Okay. So DK, remember, It's the tail of the reverb. This is Sharon and blesses. Just goes and goes off. Let's do 1 second. Probably less pain, I'm going right. But for vocals, I like to use something like 1.5 seconds or two seconds. Dka, probably less. They never go. Your gamma distance at 80% or less. Now it sounds more realistic, revamp controlled, and the density promises less. They never going to shut off, probably less pain going. Yo so it's more like you controlling the bounce off the map in a way. Okay, a lot of these buttons are working together to create an emulation of a reverb. So the density is like, Oh, if you can hear the reverb is kinda delay in a way from the pain, then switch it off from the blast. They never go engage. In effect. She your kids to something like 5% from the Blessed is going great. And the size is the size of the room. Okay, you can adjust it 200 percent. Promises, blesses. The sky. Are present problems. A blessed thing now is 250. Probably 50. Sounds good to me. Okay. The attack and the pre-delay are kinda doing the same thing in a way, okay? A super-fast, uh, check, literally when the vocal hates, a revamp, goes on. Also again, a slower attack, the original signal hits and the reverb follows, get promises, blessing thing. Now, as you can here 50, it's following a problem. The blessings, they never stop. Now you can hear the original signal, but you can hear the reverb after, okay? But it's happening real quick. Okay? Problems are blessed. They never stop. Again here you have a pre delay adjustment tool. You can decide if you want to set, let's say, a quota pre-delay, pre-delay. Basically, it's the separation of the original signal like a set and the reverb, for example. Probably the blessing is a rolled-up blesses and it, and then follows for all the blessings. So this is a slow pre-delay a bit first I went to eight separate foster 16th. Probably, unless it's a bit closer to the original signal law. Probably less. Pain level is to 64. Probably. They never stop. Your stress the size of the room. From the blessed. I like my reverb more like these. Okay. But check this out. This reverb sounds way to wash it for me. Okay. So this is where these knobs here Come in. Okay, I can control if I want to chop off the top end of the web, which is what I always do. Probably a blessed thing. Again, probably. The top answers with washi. Check the so probably they never stop. And I like to chop off my low end web also. Let's do something like 14 eight heads cut from the blesses thing. Now, if your afresh Today, Show package, and then I go, right, great stuff over here. You can select precedes. If you want a room reverb, chamber web, concert. At the synth hall, smooth space, voice, whole vocal, whole dance. These are your presets over. Yeah. Okay. The types of tablets selected, digital reverb and heat from the blood. They know. Going. If yours at all, fresh. Show, it's a concert hall, chamber from the blesses. They let us go to the synth hall. Another blessing. So these are space emulations, basically vocal hall from other. They never got right As you can hear that they sound different. Each space sounds different, strange room from other places. They live with. Some strange, but you can use it to achieve a certain effect. But I'm going to use the digital one. From the blessings. They know that let's adjust it just a little bit less to men, 20% from other places. They love the star. To a decay of two seconds from the blessing of the density in here it goes from the blessings. They love the style. That works for me. Okay? To decrease the signal, we won't touch the wet Nanoblock. I said remember I was a blesses, won't touch it because we want to use the same revamp. What are the tricks also? So instead, we're going to adjust the amount of sending to this reverb. Go into this tiny knob over here to the DAO. Bro, the blesses. Yeah. They never stop. Go and get yours. A frosted day that she was show. I take the package and then like go, I get the bag, I deserve it. Let's play it with the beat. It all depends on your liking. Okay. Let's go up a little bit more. Just go down a little bit. Let's chop off the top end a little bit more. Sounds way to wash it for me. I don't like I don't like going. Okay with chopping off the top end. You see there's a difference. Reverb sounds more controlled. Roll other places. Let's see if we can add the density. Rho the blessing. Now as 25 percent of it. Blesses. If I take the, remember the settings are not a row. This is all for demonstration, okay? You can always play around with the oscillate, different presets, and slipped different types of revamp, emulation and player on until you find what you like. Okay, so I'm gonna tend and this reverb a little bit more. I don't want a lot of reverb on this book browser without the blessing, with their web browser, blessed day. But my favorite reverb plugin by waves. That is my favorite line here, is it stereo reverb? This is the role of the blesses, is one is my favorite man. High-quality cinemas signal to it from other blesses. The top end is already chopped off. Let me do the low end also. This is an EQ from other places. They never stop. Our law does reverb sounds way more high-quality. I like to select the plate. One type has played pro other blesses. They never stop going, get pretty relays 0. Okay. And the size of the row. Let me do something like 70. Browser blesses. They never stop going. If that she yours. I just love this reverb. All I do is exactly what I just did right here. And you can adjust the damping up to your liking. Browser blesses. They never stop going down, browse the damping. Now, you can decide if you went to sustain the midrange, the low end or the top end. Let's turn it down just a little bit. Bro the blessed. But with this one also, you can achieve a decent sounding reverb, but you just have to play around with it a bit more. Okay, great. And that is the revamp. Let's leave it with the third party won. But remember, with stoke plugins, you can achieve a lot of results. You just play around with it. But when it comes to favorites, love the Arab power waves, browser just adds an amazing, amazing effect to it. Okay, let's duplicate it. Let's do the same thing to the backing vocals also. At the reverb. Let's send something like let's select it and hit. Okay, what's happening now, since that track is so low protected, you can hear that reverb signal from clique. So I'm going to switch off the same for now. With the backing tracks. I just love to go crazy with them. I like them. What? Yeah. For sure. I gave him my God is this decimal number oh, it is the first service. That Prezi then I deserve the wall. Well, let's switch off the web browser. The blesses. They never stop with their event browser. The blesses here, they never stop. Go and get a day that's shipped to show. I take the package and then I go I get the bag I deserve. Yeah, I can adjust the DK minute. Let's do something like that. Browser blesses. They never stop. Now the tail is a bit shorter like that. Browser blesses. They never stop. With the reverb. The vocal track is taking way more space. Okay, so what I'm gonna do, I'm going to edit to the TRC. Also. Look at the amount over here. Minus 15, Right? Okay, Great. I'm going to apply minus 50 into this one. Let's go listen to it. Just to the west without the river. Pray. Yeah. Oh, my homies rocketry made. I let him talk and why? Yeah. All my homies, Rocky Street made and lepton. Yeah. Oh, my homies rockets Street made. I let him talk and was as shear effect. Yeah. With the pilus played with the PDA, wanted to hear the difference. Yeah. All my homies, rock Street Main and let him talk was as shear thing. It doesn't matter if we're still paying a does it better off? Still paint? All my homies, rocket street, may I met him toggle was as shear thing. It does a man who's still paying a, does it better off? Paying is quite small, present, small, excited, and it's taking up more space in the mix. That is how you apply revamp on your checks. And that is the purpose of the revamp to spice up the mics, give the vocal instrument more presence, more depth in the mix to get at. That's it for this lecture, guys, remember, Control, Save, and I will see you in the next lecture. 10. Creative Effects - Delay: Welcome back. In this lecture, we're going to start adding the delay. If it, what is the purpose of the delay effect? It is to fill in the gaps in-between and make the mix sound more fully what we going to do now we're going to go straight to the trek we created for the delay. Go to Audio Effects. My favorite delay, it's the tape delay. Okay, we're going to hit stereo. And here it is, it pops up, okay, like we always do. Before we start mixing a want you to understand the fundamentals of the plugin, because I want you to be able to use the plugin on anything and to achieve a goal based on what the plug-in does, Let's get to work. Okay, so I'm going to start with low paying, only the hook. Okay. Let's go straight to the mixture common to, to view the mixer. Let's play solo. The lead vocal, browser blesses. On the half delay AUX track, we have a tape De Lei. All right, So I written half delay because based on the tempo and the mood of the song, I know the type of delay I'm going to use. That's why I've written half delay or redoing this track, you can just write delayed. Okay? So what's going on now? You can see over here the input, it's plus two, okay? So the only way we'll be able to hear this delay effect is if we send signal using the set perimeter. Since signal to pass to write, check this out. Browser blesses. Did you hear it? No, you didn't hear anything. Because why? We didn't do the second step which is sending signal to that truck. You just hold the code, push up or down to send the signal to the truck. Let's play browser blesses. They never stop. Right? Since the extracts, the solid protected, obviously a weekend hear the reverb Sedna from a vase to shrinks. Let's meet them just for now and play. Browser blesses. They never stop going. If that's your rested day. We getting a decent delay effect already without doing anything. But I want us to know why are we getting that signal? You know how we do it. Okay, so let's go straight to the plugin. Focus on it. This is a delay plug-in. We use it to delay signal and that helps fill up the mix a little bit more and fill the gaps in-between. Okay, great. So over here you can see these delay. You have a knob over year tempo sync to make sure that the delay is in sync with the song, is BPM. Great. And the delay time, it's the setting of the time. The delay time. Is it roll the blessings role the blessings or is it drove the blessings? Wrote the blessings or is it roll the blessings, role the blessings. Okay. That's basically it. That's the delay time, okay? But I don't like using this, this perimeter here is more straight to the point in easy to get the result you going for because this is a no, it's way more minor. The eighth delay, it's a fast delay. Let's play. Browser blesses. They never stop. 16th delay. It's super first. Browser blesses. They never stops more like reverb because it's super fast. Okay? And we have got a delay. Browser blesses. They never stop. And we have a half DLA. All right, if you're familiar with music like playing music, you know, half-note, Good anodes, oldest stuff. Let's play. Browser blesses. Say never stop. And that is a half delay, okay? The deviation is just to manipulate the distance between the DLAs. Okay, Let's just mess it up. Browser blesses. They never was still minus browser blesses theta. That's what the deviation does occur. Probably, blesses, they never stop going. That she yours. As was show. I think the package. Alright, this is the smoothing knob. The smoothing knob, I take it as a tech because it does exactly what the Arctic does, because it's softens the initial attack of that delay. Basically, 0. Browser blesses a slow one. Browser blesses, saying never start again. Browser blesses. Say nervous. As Gaga, browser blesses. Think the role, the blessings from the delay plug-in is a bit softer when the smoothing is low. Go straight to the current browser, blesses. The spread is to determine if you want a wider delay or a sintered delay. In a way, Let's play browser blesses. They never stop. As widen it. Browser blesses saying never stop. Going. Let's go just a little bit again. So it's 10 spread. Browser blesses. Say never. Right, that 10 Spread Sounds good to me. The type head mode is basically to determine the feedback. Okay, so if we say diffuse browser blesses saying if we say clean feedback, browser blesses saying it's clean, diffuse, browser blesses. You're saying there's a bit of flanger to that feedback. That is the diffuse which we're going to stick to clean and the low cut. Remember we had an EQ cutting from the left side. We're cutting off the low end, cutting from the right side, we're cutting the top end. That's exactly what we have here. Remember, let me pull it up real quick. 20 heads, 20 K. Check it out. 20 k heads, 20 heads, low, high, right? Simple. So let's chop off the low end from this delay feedback. Browser blesses, say never going get it, right. I want to filter it to bits. So I'm going to remove some of the top end browser. Blesses. They never stop going. That works perfect for me, okay? And the feedback, it's just the amount of feedbacks you get, for example, 600% feedback. Probably the blesses. For all the blessings. Blessings. Now rather than us know, I rewind to 10. Browser blesses saying never stop. And here you have your typical output. You have your dry, and this is ox track. We don't need the dry signal. We already have that under control. And you have your wet level on this tape delay, the default is 30 percent and for a delay if it are saved, that's fine. You don't need to increase it. Okay. Let's play with the pit. Yeah, would determine how much signal we want to send. Send more signals. Rather. Skoda browser. And that is the purpose of the delay. We wanted to be at the backpack, but we don't want to hear it basically, but we want it to be there just to fill up the mics, make it sound fuller and fill in the gaps in-between. That's the whole purpose of feet. Okay. So what I'm going to do now, I'm going to bring in baking number one, browser. They never stop. And we're going to do the same thing over here. We're going to send signal to the delay. Okay? But check this out. You don't just assume things are going to wet. So we're going to audition fest if this delay is going to work for this banking. Okay, let's play this bed track with that. Sounds good. Bring in the lead trick. The delays are kinda competent. Okay, So this is how we solve this problem. We're going to use our second trip delay, the one written first delay. And we're going to bring in a delay. Okay, so let's hit Option. Left-click, drag to duplicate. So over here we selected a half-note, right? We're just going to switch it to a quarter note for this trick, for this one. Okay, we're gonna switch it to a quarter note. Reason why I want the delay own these trek to be faster. I'm the Lead truck. Okay, So let's hear it. The delay comes in and goes real quick. Okay. So let's play it with the lid trip vista. If your arrested. She was show right. S is I think that there's still impede motion on the lead. Let's go down a little bit more on the threshold. Probably the blesses, they never stop. Go and do the same thing with backing vocal. Let's hear it first. C8 with the half delay. As she for sure. I think the package and then I go, I get the bag I deserve it, should decide what we're gonna do. We're gonna use the half delay on the spec in Trip also, I think it sounds good, but the volume from this delayed Shrek from the backing. Let's have it super low like minus 30 is play all of these tracks together. Bro, the blesses, you're saying go and get yours a frosted. That ship was show row the blesses, failover. Go and get your rose. Breasted. Was show. I take the baggage and then I go, I get the bag. I deserve this decimal number o it is. I charge it. What a Prezi that is reserved for Marlboro is the row, the blessing? Right, good stuff. Let's go straight to the verse and hear what tempo delay works. I'm confident that the CTO have delay would work for the Vista. Okay. That's the beauty of using centric. So you can just send the signal to that effect without doing the same thing over and over again. Okay, let's play the solo. Yeah, All my homies rocket Street made. I let him talk and was as shift fake. It doesn't matter if we still pay. Uh, does it better off? The still paying is crazy. I never fills saying a pesto OEM is lag is prepaid. The realism is not a made man. I'm the new drug a villa way. Mia, My name is Sachiko. We be some dangerous gas if we talk in record labels, they want MY data relax. If you don't be with the working, yeah, You don't belong or massage. Your legend in the making. You prep has got nowhere to go after they will do over here, let's say untested. Yeah. All my homies rockets Street made. I let him talk and was as CFA, it doesn't matter. It will still pay. Uh, does it better off? The still paying is crazy. I never fills same as the OEM is lag is prepaid. The real is always known omega say is now the main drug. Lil Wayne, see me, I'm an EKG, etc. We be some dangerous gases. We talk in record labels. They want me dead. If you don't be with the working, yeah. You don't belong or massage. Your legend in the making. You preppers got nowhere to high. Delay again. Yeah. Man, I met him. Was that she still does it better. Now the half delay does it? Yeah. May I met him talking was that she does. And that is how you use delay or new tracks and that's the purpose of the deli OK, Control, save your progress. And that's it for me, guys. Thank you. 11. Final Words, Thank You: Hey, we're finally done. But always remember to practice what you learn. You can get better at anything if you are willing to take action and consistently practice. Thank you. Thank you very much for enrolling and cheese to better mixes.