Mixing Vocals in Studio One Artist | Complete Beginner

1. Welcome: Hey, welcome to the vocal mixing basic course in Studio One. My name is Sabina September. I'm a music producer, mixing engineer based in Cape Town, South Africa. And I've created this course with the big name, might only be using stock plug-ins. So what you're going to learn in the course, you will learn that the most important tools of mixing, I'm going to walk you through on how you can get cleaner sounding vocals with EQ and DSA and more confident and punchy sounding Volcker's using compression, our pride myself and simplifying very complicated concepts when it comes to mixing. So don't be intimidated. All you need is just focused while you go through the course, practice what assure you and trust me in no time you'll be pumping out confident sounding mixes. So if you're ready to improve your mixes today, we'll see you in the course. 2. Navigation & Importing Files: Hey, welcome back. The first thing you go to see when you open studio one of these stat pop up. You can see to the right side there's a news feed. And here, this is where you can select an audio interface. Basically I'm using the MOD M trip two times two, but I'm using a via the FL Studio engine because it works well with this screen recorder we are using today. Again, we're going to hit okay, you always want to set your block says sample to something at least one hundred, ten hundred and twenty four when you are mixing, but when you are recording, tried to lie to maybe 250 seeks to minimize the CPU overuse and delay when you are recording. Okay, so we're going to leave it at 1024. Great stuff we're going to hit. Okay, so we're gonna go straight to a new song for a blank canvas. Let's go and hit song. Over here. It's set to 4.14. Resolution is 24 bit. That's perfect. Time base. It's a buzz, the BPM of a song. Let's double-check the stance. It's 100 beats per minute. So I'm going to leave it at 100 beats per minute and hit, Okay, okay, over here you can see those templates, you piano ballad templates, put cursed template, vocal Gita template. You can use those depending on what you'll be using the program. But in this case, I want to go straight to a blank canvas so that we can set up things that we will want to get. So I'm going to hit empty song here you can see these are blank canvas. I want to show you a couple of things before we start with the heavy work. Okay, over here, this is your browser. That's where you'll find your sounds as if it's all that good stuff. But we'll be using the mixer for inputting. If it's on the lower right, you found browse, mix and edit together. So basically when you hit Edit, you can see the edit window pops up when you hit mix. The mixer pops up. When you hit Browse, this browse disappears. Okay, so for most green room, we're going to disable that Browse. We don't need it in this case, what we're gonna do, we're gonna drag and drop these stems over. Yeah, okay, because I want you guys to follow along very easily and make this class as simple as I can. So we're going to be processing one lead vocal take over in an instrumental. Okay, so what we're trying to achieve, one, to achieve presence again, so that the vocal is not drowning under the bid to want it to be clean, to remove the shop Ss, and at the very same time wanted to sound corn systems. You're going to learn how to achieve those results this course of care. So let's go ahead and drag these real quick. We're going to track the instrumental and the lead vocal will go into the processing. Okay, great, This is the instrumental and these are the vocal. So we're going to focus first on the loudest spot because that's where the beat hits the most. And we want our vocal to be able to stand out in that section also occur. So what we're going to do, we're going to hover over this area over here. Hit and hold to loop that section. Girder rate again and follow my mouse, you're going to go over, yeah, this is the transport window. That's where you find your information. You time, your boss, your plays, you rewinds on us where you enable your metronomes. That's where you change your temple and thus the transport wind. Okay, so we're gonna go over here. This is your loop active. Let's activate loop. So when we play, right, it's going to continue to repeat that section. Now. We are ready to go. Okay, so what I'm going to do now, I'm just going to double-click. Yeah. Make sure it's Minho. Ok. I want to remove all the extra unnecessary data for this project. Rename that also. So to rename you just double-click on the text. Okay, great. All right, that is what we're going to be working with. And now it's time to process this vocal track. And I will see you in the next lecture. 3. Vox EQ 3 Step Process: Welcome back. In this lecture we're going to start applying EQ. Okay, so the first thing we're going to do, we're going to open up our mix a truck over, over year. You can see the shortcut is F3, we're going to hit F3 or just left-click, okay, F3. And the mixer pops up. Okay, so the second step, we're going to take care of what a distinction between the instrumental and the vocal. So I'm going to select a bright color for the vocal. And we'll go over yet to insets goes straight to EQ pro CEQ, which is a stock equalizer. What an EQ does, we use it to cut, boost or remove frequencies will need from a truck, for example. Or they are frequencies where certain sounds that dominant. For example, a base is more dominant on the low frequencies, which is 20 heads to around 500 hertz, but it's more dominant from 2200. But they overlapping frequencies, okay, for the tone and the sound off that kick, or 800 eight K dependent, and the vocal dominating the mid-range obviously, and some of the top end, the high hertz, that's where they hit the most, okay, and you also get a visual representation of the signal, right? That's how we're going to be using the EQ. And these are parameters that adjust these knobs over year. But for more accurate adjustments, we're going to use these perimeters. You just use whatever works for you. You know, we process things differently, okay, So what are we going to do now? This is the vocal track. We don't need the low end from the vocal tract. But when we're chopping it off, when it focused on what numbers, we're focusing on the tone and the effect of the plugin. Ok, Right, What I'm gonna do, I'm gonna go to this low cut over year. Low cut means high pass filter, okay? That means we're cutting the low frequencies and letting the high frequencies pass when they say hi cut the mean low-pass. That means we're cutting the top frequencies from the right side like this and letting the meat and the low information pus, that is the high cut. Okay, Great. Now let's get to work. Care set this to default to for it to fall, to fall, to fall. So the first thing we're going to do, we're gonna room of the low-frequency information. We don't need that on the focal, so I'm going to hit low cut, enable it. Look at the frequency over here while I'm making the adjustments, Let's play or push it up. Or I take the package and then go, good the bag. I deserve stressful, Marlborough it is. That's too much debt, president and I deserve I get the bag. I reserve steps Pharma, Bro it is RV. I charge a fee-for-service. Their present any deserve the right. Great. That sounds good. But I feel like about Canvas way too gentle. Okay, so to adjust the care of, we're just gonna go to what these octaves over year. It's set to 12 TB. Let's try something like 2040. Be, alright, let's see that row, the blesses. Now it's cutting from this point instead of from this point. They never stop without the EQ. Gotta go and get it. If that's right, I think we can go easy with that low cut as play again. A fresh day. Alright, select 184. Sounds good when I'm removing a lot of low tone from the artist's voice because there's something, some low tone that sounds very nice from his vocal. So we don't want to take away that. Okay. But at the same time we don't want our vocal or anything else competing with low-end information. Okay. So we did something like 184 cut. That's not a rule. You can always adjust things to your liking. Okay. Tomorrow I might mix the same thing and maybe cut to 190 or 170. Okay. Depends on what you are hearing. Okay. Let's play show. I take the package and then I go. So the next step will be sweeping. Okay. First it was cut him and the next step was going to sweeping. So what we're doing when we're stripping, which is slipping around the mid range. Okay. I'm just going to click on this knowledge over year inches adjusted like that care. So too narrow or wide in the band, you just scroll down, up in down here. So I'm just going to scroll up a little bit more because I wanted to affect a lower frequencies to care. So we're just going to boost it. Let's start from 300 and just strip around that metering three hundred and nine hundred. See if we're not finding any book, see muffled sounding frequencies that we can tame in volume. We're going to remove them. We're going to tame them so that we have a gentler sounding vocal to the year. Okay, let's play. I get the bang. I deserve this from abroad, desert. So remember when you're doing this post, obviously you are posting a certain frequency. It's easy to think. Everything sounds bad, okay, just sweep around a bit more until you form something that pokes out at us like NAD, this is a way to muffled in a way. Okay, Let's play. I chose a feverish serves deaf resident advisors. I get the bag, I deserve tesco, my bro it is RV. I charge a fee for service. They precede any deserve right there. 27. So we're going to use this gain perimeter or more accurate cut. So it is to something like three dB and play. Blesses. They never stop going get it right. So we did the cut with the sweep. Now the third step of EQ, it's going to be adding shine, which is boosting some of that top range of the vocal care. So let's use this perimeter over. Yeah, it's set to chef. Okay, meaning from this point, everything from this point will be boosted or removed. That's not what we're looking for. So you go over year to change it to Peking or gear. You just switch it to picking. Boom. Right now we can focus on certain frequencies. Okay, so let's play. If that's yours, a fresh day. I take the package and write this is to add more bite delicious tented, done all your mouse just want to do something like 1 something got two dB. Let's play. Go. I get the better a bag I deserve enable. It says from abroad, deserve I charge a fee for a service. A little bit more crazy than I deserve. I get the bag, I deserve nice. I feel like it's adding more presence, a little bit of brightness to that vocal, but 20 dB post is fine. You are only like to do extreme adjustments when it comes to mixing because I always went to maintain the natural sound in a way, but it just went to enhance it to sound better instead of changing the whole thing. And that's how you EQ Volcker less played with the bit. Let's switch up the EQ. With the EQ, right? It sounds way cleaner and it's sounds like it's just taking its own space. Sounds a bit lighter though, because we chopped off the noise in the low mid frequencies. But don't worry, we will take care of it step-by-step, and now we're done with the EQ. The next step will be softening the sharp S is from a vase vocal. See you in the next lecture. 4. Vox De-sser: Welcome back. In this lecture, we're going to start applying a technique called a DSL care. A lot of people know a DSA is a plugin. You just throw in the and then you get soft S is care. But I want to explain real quick what it does. A DSA basically is a compressor plugin that's designed to focus on specific frequency. So when you load it in, it's already set around those frequency where you find shop Ss and bolts frequencies are most cases, 5.5 to seven key, okay, that's where you find your shrub S is, so ds is focused on that area. And then when those frequencies said to be a bit more aggressive, they just dip it in for you automatically. So instead of using an EQ to remove those shrub S's, which is a permanent adjustment, we use a compressor, which most people know it as a DSA, So that only when that frequency gets aggressive, it gets tamed down for a gentler listening experience. Okay, at this point, studio and Xin have a certain plug-in that is a DS or the type of plug-in I'm explaining That's when you load it. It's already set to compress a certain frequency. So what I'm gonna do, I'm gonna go to die down mix and go to the stock compressor. Okay, they is it compressor? Great stuff. So here's the trick. What we're going to do, we're going to be using the side chaining feature. Okay, So I'm going to set it to filter, filter pieces and it's focusing on a certain frequency. Care this is a compressor. I'm going to explain the features of the compressor. Where do we start compressing right now, I just want you guys to focus on these two wire. The next lecture we're going to start cover and compress it. We set it to Filter. Great. And we'll set the low cut to something like something like six K. We'll just leave this peak facing up. This is where you can change it. And we set the high cut to something like leaving K2, K as play. They never stop. Okay. So basically I'm just going to go straight to the perimeters, what they do so that you don't get super lost. Okay? So the threshold is the point where the compressor will start working, but we're going to set it crazy, crazy low. So when the signal reaches that threshold point, it will start getting compressed. The ratio, it's the amount of compression, for example, two-to-one means for every two disapproval, we are compressing. We are letting go of one uncompressed, which is light compression. For 21, it's decent compression which is used mostly on medium, I can say medium dynamic range signal. Okay, What is dynamic range real quick, dynamic range is the distance between the low sounds and the high peaks of the wave. As you can see here, these high peaks and there is low valleys care. So if it's super tight like a bass track that is low dynamic range, if it's high, that is high or medium dynamic range. Okay, great. So four to one, we're going to leave it at four to one. The knees, just sharpness of a compressor. The attack is how fast a compressor ribs the signal. We're going to set it to 10 milliseconds for this ts and the release, it's how fast the compressor lets go of the signal to its original signal. Okay, so let's set the release to something like 50 milliseconds the makeup gain when you are compressing, remember, we're kind of trying to squash down the high sounds, trying to match them with the low sounds. We don't wanna go too crazy with it, but it's just to achieve consistency and punch in your face type of field when you're listening to it, care That's what the makeup guinea use for after we lose that volume compressing, wear makeup for the DBs we lost when we are compressing. Okay, so what I'm gonna do now I'm going to play the trek pushed on the threshold and do some adjustment while explaining, Let's play. If that's yours, a fresh day. Yes. Canada for Shaw. I take the package. Yes. Then I go I get the bag. I deserve a stay-at-home, mom, bro, you deserve I charge a fee. Pilus, push the ratio up a little bit more. Care. Remember, amount of compression ratio, Let's put preserves. Their president deserved. I get the bag, I deserve steps for Marlboro, right? Let's finish off that ds or implant. Their presidents deserve. I get the bag, I deserve steps for Marlboro it is RV. I charge a fee for service. Right. Let's listen to that. Charges a fee for service with the compressor on yeah. I charge a fee for service with the compressor off. I charge a fee for service, right? With the compressor ordinates a big trend like and what the compressor is doing, what I like about the STS, a technique, it's focused on those frequencies, but normally has those sharp edges is okay. So the low cut is set to six K and the Hikida is set to 12 eight. Another trick to save you time, since this is a compressed at designed for multiple theme, you can just go to vocals to save you time. Go to DSA. That's the preset already set to something closer to what I did. Okay, set it to DSA, boom, set to six K. Hikida is set to 12. Care enabled. The filter on internal search engine, the threshold, we just push it down, I would think is already said too aggressive, 12 to one. The ratio. Let's play that precede any deserve. Bro, the blesses, they never stop going. Right? I feel like it's too aggressive because this I take a super-fast for me. I would set it fool to something like 20 milliseconds. Remember the last time It's wanted to eat also won't be using the makeup gain because we're not using it for normal compression. If that's your, I'm going to go easy with the ratios. A fresh day. So I take the package and then go I get the bag. I deserve a stay-at-home mom, bro, you deserve I charge a fee for service. Deb Prezi, then I deserve I get that. And that is how you DS your vocals. I'm pretty sure you learn something new today again, my way of seeing mixing is way too visual in a way. That's why I'm able to deconstruct these concepts in a vase men, okay, So one plugin, I tried to figure it out what it does so that I can be able to use another plugin if it's just a shortcut to a plugin, you already know how to use a hope I'm not confusing, and that's it for this lecture. And the next one we're going to start adding more punch to this vocals so that we have some energy and consistency and we want our vocal to particular space and this trek. See you in the next lecture. 5. Vox Compression: Welcome back. In this lecture, we're going to start applying compression. A compressor is basically a tool we use to change dynamic range. Remember, what is dynamic range? Dynamic range is the distance between the peaks and the low care. So like to call them the mountains and the valleys are care. So when you compress it, we bringing this wave down a little bit. And we're bringing this one up a little bit for a more consistent, punchy filling sound. Okay. That is the pupils of compression. Okay. Before we continue, I want you guys to keep something in mind when you are receiving a pit. And you know the producer, please ask for the mixdown. A well-mixed pit that peaks around minus 6, minus 10. Citizen. Because why, when you are recording and mixing your vocals over that beat urine have to crank up the volume. You can just do mixing and blend that vocal with that mixed up so that you must eat else the whole thing. But a lot of people get It's that already must it. That's fine too, but ideally get a wave mixdown. So let's go ahead and instead compressor, now we have a third compressor. Another thing I like about studio one is the fit that you can switch around plugins while you have one up if they are on the same trip, for example, I can go to the second compressor, go to the EQ over, yeah, okay, So real quick, I want to explain what the compressor does so that you are familiar. I don't want you guys to know that you press here. You tricky. I know a 12 to have a picture, a picture in your mind whenever you're doing something. And that gives you confidence and that gives you control. You can even have creative ideas to do something we've never seen with the plugin. Great. So what I said, the threshold is the point where the compressor will start working. Okay, so let's say if I set it to minus theta TB, when the signal reaches this point in volume, it will start getting compressed. Everything after that, it will start getting compressed. The ratio, it's the amount of cooperation, okay? So when you push the ratio up, the heavier it compresses credit stuff, we're going to set it to something like 4.2421. I like it. Step for vocals and the knee is how gentle or soft? Compressor grab ease, like sharpening. Going to leave it at 0. And the check form of ocher, I like to sit my attempt to something like 20 milliseconds, 30 milliseconds, 15 milliseconds. That's teosinte care. I don't want to crazy fast attack, but I want it to be fast, okay, for my release, a one to set it to sufficient TO care to become a master of this plugin. Play around with them. I told you a release. It's how long the compressor lets go of the signal after it been compressed. So you can open your door and set a crazy high release and look at the visual or listen to the result, you will see that it's taking time to let go oldest stuff play around with it. Have fun. Don't just mix when it's time to mix for a client or a song, play around with this stuff, Have fun with it. That's how you get good at it. Okay, Great. Took too much. So great. Here, there is a side chain features. This is the input gain. Let's leave it as is the makeup gain it's making up for the gain would lost when we were compressing or care. The global is just mixing the original signal with the dry signal. Let's just leave it at a 100 percent gray. So now we're going to start compressing. Okay, let's play without the compressor fest. Calling a fresh day and take the baggage. I get the Baghdad. Is there a decimal number or a dessert? I charge him with the photosphere. Impressive analysis. I get the Baghdad is there sounds good, sounds decent source, gentle to the e, but it's not dominating those bands on the rounding crowning, crowning this focus. So what are we going to do? We're going to fix that. Let's solo the vocal. Okay, so the vocal and give it some muscle. Okay. Let's play the music enable the compressor play steps for Marlboro it is RV. I charge a fee for service, debt present any deserve going to use the visual information as a secondary tool. Remember, listen to what the compressor is doing. A push up the threshold again, a plate. They never stop going. Yours, a fresh day. Show. That's way too much compression. Go is it AGI the Baghdad is a stay-at-home mom. I charge a fee for service. Yeah. Presidents. I get the bag I deserve. All right. Yes. So I'm looking for minus 5, minus 6 gain reduction. Okay. And how do you know that with just your ears? That's where we use the visual tools. Okay, let's play over year, that's your gain reduction. It tells you how much gain we are reducing. They're present any deserve. Bro the blesses, yes. They never stop going. Right? If that's your just reducing something like minus four to minus six k, show display a fresh Let's switch off the compressor. Show switch it off. I think the bag, I'm pretty sure you can hear that we lost some volume. So to make up for the minus five dB we lost, we're going to use the make up gain now the makeup but Makes sense. Okay, we're gonna go to make up gate is to something like five dB boost as play pro the blesses. This to something like 60 be 60 be display. They never stop going. If that's yours, a fresh day. For show. I think the package right. Let's go easy with the threshold. Just about payments to something like 28. And then I go, I get the bag I deserve stay-at-home, mom, bro, you deserve a British show. Now you can hear low sounds you didn't hear because remember we pulling up the low sounds and we're trying to cut down the high peaks of the vocal. So now you start to hear Bureau computer tower fans in a way when we are compressing. That's why they always say record in spaces where there is minimal to no knowledge to care. Let's play with the compressor and the Pete Rose the breast. It's a fresh did the show. I take the baggage. I get the bag. I deserve a decimal number ONE deserving than some thickness, some pants or some. There's just something about this focal after it's been issued and compress this switch off the compressor in place. Obviously you can hear the difference is less punchy. It's just shy man is drowning over there. It doesn't have that muscle. Again. And that's how you get a punch SRY present sounding of vocal mix of care. And that's it for this lecture. And while I was doing it, I just thought to myself, wouldn't it be nice if you can do more to this photo? And that's where the bonus lecture comes in. I will see you in the next lecture. 6. Vox Reverb: Welcome back. In this lecture, we're going to start applying reverb. Remember in the beginning we made sure that we set the project 200 ppm, which is the right tempo for this song, end when you are recording the soma, make sure you set the BPM to the right one so that the vocal waves in sync with everything. So what I'm going to do now, I'm going to add a reverb. So we'll just go to Insert and go to revamp. But let's scratch that. Doesn't look how I want you guys to do it. Don't forget to hit Control. Save every time we are doing something. Okay, great. I want to introduce you guys to an amazing technique or way of mixing, which is a professional way of mixing when it comes to heavy processor, if it's like reverbs and delays, instead of inserting those, if it's an each and every track, recommend you have a centric. Okay, what is a centric eccentric? It's an effect truck. So when you want that, if you send the sum of the original signal to that, If it, and then a VAD if it would be mixed with the dry signal. Okay, great. Don't worry about it. I'll show you is super easy. Okay, So the first thing you can do, you can go to add if fixed China, but I like speed, like speed. So I'm going to go straight to sense over. You can see sense. We're going to left-click add effects truck. Okay, the minute you edit, you can see there's a new FX track of a year with double-click it, HD revamp, okay? And it changes over here also. Over here there is a perimeter. This is the send level. This is the amount of signal you are sending to that great stuff. So instead of us adjusting the reverb, dry or wet to accommodate this one trek, we can just use this amount of ST from this trip to determine how much we want ONE OF these trick for river and just leave the word level at max on this one. Okay, so I'm gonna go to that effect truck trick. Let's change the color real quick. Let's make it dry. So I'm gonna go to Insert, own that reverb track and go to revamp. Let's use a stoke revamp. We're going to use the room reverb. Okay, great stuff. So let's just since signal for demo purposes, mu to the pay-to-play 10 down that certain level. They never know You can hear no, Rebekah. Just push it up a little bit more stuff. Going on. Your right. The reason we use revamp, I'm pretty sure you can hear it, gives it some illusion of a surround sound. It also gives it a sound clip. So over here you can see you have your pre revamp, which is your pre-delay offset. Okay? So the pre-delay, it determines how many milliseconds it take for the reverb to activate after the original signal plays. So 0 milliseconds, It's pretty instant. Let's play. Great. Let's go slower. A festive day. Get follows. Let's go again to show how great that is. The pre D. Okay? So the length, it's the hay. So a long length means package. It's taking time for that revamp to disappear. That is the t. Care for this focal. We're just going to set it to two milliseconds to seconds. Let's set it to two seconds or 20 seconds. Great. Let's play a role. The blesses, they never stop going. Right? These are web types. You can set it to small room, room, medium haul, large hole. Okay. This is the size of the reverb. You can just push it up to a bigger size. If yours a fresh to say where big a room. It's just leave it for the show. I take the Bacchae care. This is the reverb Weidner. You widen it. You can see over here visual representation. So wide need a little bit, not too much pledge. Go. You can also adjust the height and listen to what it does. Just the height a little bit. I get the bag I deserve. Statue of a membrane desert in a down a little bit the height. I charge a fee for service debt presidential advisers, right over here you have the dampness. So the tetanus, a super high, which is a 100 percent dimness, means we allowing close to 0 high frequencies of the revamp. Let's play. I get the bag, I reserve the stage for my bro, it is destined on the dampness. Hey, I charge a fee for now you can hear the top end of vervet. Okay. It's already serve is to present any deserve. Proper is turned on the room a little bit. Flex too much does to a medium haul. Let's play around with the blesses. The they never read. Remember these perimeter adjustment are no rules. You can adjust things to your liking. Okay? This is just for demo purposes. Scales tend on the rep, something like master t. Let's Play. Going. At more reverb. I get the Baghdad is nice. It's taking up more space and for more control, I just like to throw in an EQ. Just like to throw in an EQ to a low cut. And high COD removed the top frequency because the top end can someway to watch. So I like to remove the top and a little bit on Broadway deserve I charge a fee for service, depth resident advisors. I get the bag, I reserve steps for my bro it is RV. I charge a fee for service. Dep refers to something 1.14. Presidents they deserve, we probably blesses. Without the reverb. They never stop. Go engage with the reverb. Yeah, they never stop. Go. Great. Sounds more interesting, and that's it for this lecture. See you in the next lecture. 7. Vox Delay: Welcome back. In this lecture, we're going to start applying a di Lei. If it, what is the purpose of a delay effect of vocals? It is shuffle up the gaps in between the vocal texts for a more interesting and full sounding. Make sure what I'm going to do now. I'm going to go straight to the main hope track, hit Send plus add effects channel. Let's double-click to rename D. Yeah, We're gonna go straight to the delay effects. We're going to use a stock plugin called analog delay. Let's hit Enable. We're only going to use two knobs. The global wet, right level, we're just going to leave it at 100. We're going to switch off as a feed, a big boost. Let's set the Fitbit boost to something like 10 percent. Get the feedback. It's the amount of repetition, basically delay if it repeats the signal over and over again. And this is the time in notes. Let's try to set it to something like half-note and hear how it sounds. Okay, so this is the time it takes for the delay to play back. Okay, let's play bravo, the blessing. The blessing. That is the half delay. It's a bit slow. This to something like a court delay. If I wanted to get an idea of what's going on in Ghana's to some lady called a delay. And then roll the glass plate with the bit is turned on the foot bed to something like 50 percent play. Remember one to add this as a Philip background effect. So we're going to turn down the delays and on the main track, gear want to hear less of that delay when it comes to for you. So let's push it back. Okay, let's play. Right now it's way too low. Let's increase it maybe minus 19. The baggage. Rho the breast. The show. Right. Sounds good to me. It sounds good to me. Okay. And that is how you use the delay. You fit the main keys to focus on. It's the time, which is how many milliseconds it takes for the delay to play. The half note, quarter note, eighth note. And the feedback is the amount of repetitions you want from the delay, the dry wet. It's more like any plug-in, the amount of how wet or how dry the signal is. But since this is how we can get away with a 100 percent wet and just adjust the main signal sent. Okay, so what I'm going to do next, I'm going to add a nav tag, which is a backing vocal tic, just to fill up this mix a bit more. So it's going to be a quick lecture. And then we can move on and do some interesting things to this trek. And that's it for this lecture. I will see you in the next one. 8. Vox Backing Processing: Welcome back. I'm going to input a backing vocal check real quick. So I'm going to drag it from another monitor. Drag and drop. Okay. This is it. Let's play, right? Great. I'm pretty sure you can hear that that baking trick is adding some interests to the track, but check this out. It's kinda competent with the main vocal technique we're going to use. We're going to make sure that Picking truck stays as the spice for the main trick, but doesn't get in the way of the lead vocal. So what I'm gonna do, I'm gonna pull up an EQ, which is a stock plaque in a Pro E cube. We're going to go to the low cut. Okay, Let's solo it. Cut as push up the low cut. Right? I'm pretty sure you can say that. That is an aggressive gut. Just do something 24 dB per octave and do the same thing on the top side, high cut. Let's chop it off and set at 24 dB, right? Let's push it back. Remove the top end play. Great. Now it's more like a telephone. If it is suppose to some of these. Real quick, Let's add a compressor. So let's go to dynamics compressor. Or to go to Joe, we're going to set this compressor 15 is five. Let's sit the release to something like 80 to set the ratio to something like 401. Let's play. Push it down. We're going to push the threshold down till we notice some gain reduction over yeah, okay. Yep. Write something like 0 dB, that's boost that for DBS play, right? Great. Let's play it with the main trick. Show. I think the package. And then I go, bro, the blessings, they never stop. Go and get yours today. Show. I think the package. And then right, Let's interest of volume for that backing track. Mag Go Pro the blesses. They never stop. Go. And remember we remove the low end, we remove the top end. So it's kinda shy in a way when it comes to dominance. But don't worry, that's what we're going for. So we're going to append it to the left side, taking advantage of the stereo field, which is the distance between your two speakers. Okay, so we're going to append it to the left. Let's play that. Your great. Now you can hear it. Okay, Let's do something like minus five dB. Boost, makeup gain again. Which show? Becky, Go Pro the blessings. They never stop. Right? Let's add a reverb to it. So we're just going to hit Send, select the receivable already. Have careless turn it down a little betas to something minus 10 is play. If your arrested, right, let's play with the bit. Right. Let's open up that low cut a little bit more, just a little bit to something, maybe something like 400. Let's play. Sounds good. A technique I wanted to share. Basically, it's how you can blend a late Volcker, make sure it stays dominated. Everything has still be mindful of how much space you have. So you have to be realistic. Kelly, sometimes you have to chop off some frequencies from a certain sound to make up for another sound. For example, if a 1D this lead vocal to terminate, I can't have something else taking up the same space. Okay. It's going to be messy. That's why I'm using penning. That's why I'm using EQ aggressively, stuff like vet care. That's the purpose of this lecture. Okay, that's it for this lecture. I will see you in the next one. 9. Auto-tune & Saturation: Welcome back. In this lecture, we're going to start adding a such a ratio in a game. Care what is saturation? Saturation, It's adding harmonics and thickness to sit signal. In this case it will be off. We'll be using a distortion plugin. So what I'm gonna do now I'm going to go straight to send for the main vocal and add effects channel. Let's double-click rename this and say colors just color occur. And we'll go to inset. So we're gonna go to red light distortion. It's a stoke plug-in. Great. So the main hook, let's send signal to a color. Let's play. Okay, I want to mute the reverb and delay for now. Okay, so let's just switch off these effects as play, Go Pro the blesses, you, right? Let's enable the distortion. They never stop, right? You can see with just sending signal to eat base unchanged. So the drive is the amount of distortion we are adding unsaturation we're adding to this truck, distortion is the amount of distortion we can make it aggressive or softer, okay. Low EQ, these are EQ knows when cutting from the left-hand side is to something like 150 and we cut from the top end. Let's do something like 11, a key. Okay, great. Let's Play. Going get us interested drive a little bit. If that's your Shaw, I take the package, right Basically with this associated with giving the Volcker more punch, more dominance, MOOC, great, so that it stands out a bit more. Okay, so let's leave the drive it five and just decrease the color. Let's Play. And then go just decrease the amount of sand. Plus two minus Theta. Browser blesses. They never stop without the color of going. If that's your with the color was a frosted day. The show. Okay, Let's enable the reverb and delay. I take the package and then I go pro the blesses. Right, let's open up that top end a little bit from the D layer and let's push it back up. Let's start your day, right? It's just for saturation and add more meat to the Voc. Okay, Let's played with a bit. All right, So after you add some effects like saturation, effects associated with everything, if you notice that you hear in some more aggression in the top end, you can just go back to your DSA plugin on the main track and do more adjustments, but I'm still fine with these right now, okay? And that is how you add more bytes to a signal. In this case, it was a vocal signal and you can use it basically own anything, Control Save to save the progress. So what are you going to do now we're going to break some rules. Remember that this is a stock plugin, but unfortunately at this point, we don't have a pitch corrector or acute type of plugging in studio one. Okay, so what I'm gonna do now, I just want to tighten the notes, own the lead vocal so that the focus tends up more and just improve the overall performance and make the mix sound mod n. Okay, so we're gonna go to Insert. We're going to bring in a favorite plug-in of mine, which is waves real qN. It comes with the waves gold bundle is going to be waves you qn. Let's select the mono. Remember this is a monster truck vocal select Waves, a real qn. There it is. Lovely look you plug-in basically does what the popular or acute plug-in does. So the purpose of this plug-in basically it's just to tighten the nodes and make the vocal mix some more modern, especially in this general. At the very same time, I want you guys to know why a prioritize heavy the key of the song when it comes to stems, okay? So the key of this song, it's a B flat minor. This is a, a B, right? And this is a sharp. At the very same time, this is B flat. All right, so we're going to set it to minor. Natural minor. We set it to be key of the song, and it's B flat. B flat. Great. So what I'm going to do now, I'm going to push the speed up the speed, it's the aggression of the plug-in. Basically, a slow speed means almost to know or to qn. A super fast speed means heavy or acute care. So I'm going to push up the speed. But in a push-up the note transition by T01 and link these two. Okay, so I'm going to play the music. Rather, blessed. They never stop. Right? Let's start making the speed faster, right, is to something like 0 comma one play, going get yours today, right? I set it to soprano, play the show. So basically this is the range. You can set it to. Bass, baritone, tin, old mezzo soprano for artists with a deep voice like this guy, I like to use the low tone on oracular, but in this plugin, it's set to base. Okay, let's play. I take the package, good to set it to base, right? P minus k L. And it's a B flat, right? Okay, let's play and go. Bravo the blesses, right? But I don't want that crazy TPA tap. What effect? So I'm going to do something like 13 milliseconds speed. Let's play here. They never stop going, get that yours or right arrow once you do it. But obviously you can hear that it's there if you're good at listing. So always make sure that the oracular plugin is the first plugin Pareto want you to use it as the first plugin first process the original signal or acute care, i o want you to play yourself when it comes to mixing. So let's drag it up. You just click and hold, push it up. Now it's the first plugin display, a frosty day. Which show I think the package. And then nag go. Now you can hear the impact of that disassociate a, this vocal slips a huddle. Again. Let's play it with the whole trek. Right? I think we can go crazy with this backing compression. Let's play. Yep. Oh, it's too much. Care is push it out is to subdue minus, it's minus seven that we're reducing. So we're going to do a makeup of 70 beat play. All right, so what I'm going to do, I'm just going to copy the oracular settings are already have K to this trick, so I'm going to drag it to another trip, make sure it's not over the trick. To make sure it's not replacing it. Just make sure these inline in between. Great, now it's duplicated the same settings. Let's push it up as a first plug-in. Listen to this major. Great. This is a PECC in Trek. Let's go a bit more aggressive with the OR Q, this to something like 15, and listen to this. Sounds. Spouse dies because there's a lot of low end removed from that. Take the oracular and tricks that a process like that. I don't know, man, I just love ourselves. Let's play the track. Hi. And that is how you process a vocal and that's it for the course. Thank you very much for enrolling. Thank you. Thank you. Remember, with any scale, you just have to practice. It will get easier with Chad and that's it for me. I'm out. 10. 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.