Music Production Masterclass from Recording, Mixing to Mastering - Cubase | Uriah K. | Skillshare

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Music Production Masterclass from Recording, Mixing to Mastering - Cubase

teacher avatar Uriah K., Learn the basics of Audio Recording & Mu

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Cubase Masterclass introduction


    • 2.

      Cubase setup for the first time


    • 3.

      Cubase setup for an easy workflow


    • 4.

      Cubase Audio setup


    • 5.

      Creating an instrument track


    • 6.

      Tempo or Bpm setup


    • 7.

      Metronome Activation


    • 8.

      Drums recording starting with the kick


    • 9.

      Recording Snare drum, hihate and percussion


    • 10.

      Recording Guitars


    • 11.

      The Mixer in Cubase


    • 12.

      Electric Piano and Conclusion


    • 13.

      Tools and Short Cut in Cubase Lesson 2


    • 14.

      Demonstration and Conclussion of Lesson 2


    • 15.

      Recording Midi Bass Guitar Lesson 3


    • 16.

      Using Chord Pads in cubase Lesson 3


    • 17.

      Recording Midi Celo Lesson 3


    • 18.

      Arrangement Applying the mute tool Lesson 3


    • 19.

      Setting up makers Lesson 3


    • 20.

      Adding Loops Lesson 3


    • 21.

      Adding fx track Lesson 3


    • 22.

      creating folder track no tag Lesson 4


    • 23.

      Reverb and delay as fx send


    • 24.

      Routing multiple drum output in hallion


    • 25.

      Multiple output in hallion for keyboards


    • 26.

      Grouping tracks for guitars


    • 27.

      Grouping tracks for drums


    • 28.

      Grouping track for KEYBOADS


    • 29.

      Mixing the drum loop


    • 30.



    • 31.



    • 32.

      Balancing Keyboards level


    • 33.

      Balancing instruments


    • 34.

      Compressing the electric piano


    • 35.

      Mixing the snare drum


    • 36.

      Mixing the Hihate


    • 37.

      Mixing shakers percussions


    • 38.

      Mixing guitars


    • 39.

      Mixing poly synth


    • 40.

      Mixing Celo


    • 41.

      Mixing sweep


    • 42.

      Mixing SYNTH 2


    • 43.



    • 44.



    • 45.

      Conclussion for Cubase Masterclass lesson 4


    • 46.

      LESSON 5 Audio Import


    • 47.

      02 Folder Track


    • 48.

      03 Vari Audio Setup


    • 49.

      04 Creating Group (Bus)


    • 50.

      05 Pitch correction with Vari Audio


    • 51.

      06 Lead Vocal reverb and fx send


    • 52.

      07 Midi and Audio Automation


    • 53.

      08 Delay fx Automation


    • 54.

      09 Mixing Lead vocal with EQ, Compressor and Deesser


    • 55.

      Lesson 6 Mixing summary


    • 56.

      02 Cubase Master class Project song


    • 57.

      04 Telephoneline effect summary mix


    • 58.

      05 Reference and Balancing


    • 59.

      06 Drum roll mix summary


    • 60.

      03 Mixing summary 1


    • 61.

      07 How to render your project to wave


    • 62.

      09 How to render your project to wave ( Trackout )


    • 63.



    • 64.

      64 Congratulations


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About This Class

Learn the basics of Audio Recording & Music Production With Cubase 10.5 Software from Mixing, Mastering, Midi, EQ etc.


This course is purposely for beginners who want to learn Cubase and Music Production from an Experienced Musician / Music Producer.

Getting the fundamentals right will save you a lot of time in your workflow through your Music Production career.


In this course, we will be learning how to Properly Create Music, Arrange, Mix, and Master a whole song.

We will be creating our music during the course, and also Mix and Master before the end of the course.

I believe learning by practice is the best option and the fastest way to learning.

You don't have to waste a lot of time trying something you have little knowledge of.

''If we had known better we would have done things better ''.


  • How to use the Eq and read the spectrum

  • Understanding compression

  • How to use Reverb and also select the right reverb

  • how to apply Delay

  • Automation

  • How to edit with Variaudio / Melodyne

  • how to record live guitars

  • Audio Processing

  • When to use sidechain

  • How to arrange a song

  • how to properly setup cubase

  • How to¬† edit your midi

  • How to Mix and Master

  • How to quantize in different time signatures

  • And Many More

At the end of this course students will be able to record their own music, Mix and also Master their song.


I will be updating the course as time goes on.

At the moment I am still recording some of the lessons and i will be uploading them in addition.

I look forward to seeing you in the class.

Best Regards


Meet Your Teacher

Teacher Profile Image

Uriah K.

Learn the basics of Audio Recording & Mu


My Name is Uriah and I have been a Music Producer for the past 12 years. Cubase is my main DAW.

I am a professional Guitarist, Web designer and a Music Producer.

Over the years I have had the opportunity to work on many songs with different artists and have also assisted in a lot of productions.

Serving and working with great producers and musicians have enhanced my approach to music production.

However, I would like to share my knowledge and experience with the world through my Course.

Thanks a lot and I hope to see you in the class.

See full profile

Level: Beginner

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1. Cubase Masterclass introduction : cubes must a glass Hello and welcome to and costs have been an audio engineer for the past 12 years. Cuba's is my main DW Dominion off DWS digital audio workstation. In this course, I was thinking through how to set up Kiwis record. Your first median audio instrument as well as recording forecasts, will arrange our projects. And it's and also mixing must our song for this course. This course will take you from scratch to the point where you're comfortable with Cuba's, even though I'll be using Keep is for the past 12 years. I still have a lot to learn. Cuba's must have classes I do for beginners and wrote today to a local creativity function lots and let's get started. 2. Cubase setup for the first time : in this lesson will be learning how to set up Cuba's for the first time. So let's assume that you've got your Cuba's icon over here. I'm assuming that if already in story or Q base, the very first thing you have to do is double click on the icon. And that is what happens when you double click on an icon after double clicking on the Cuba's icon. This is what we are going to help over here on the left section. You could see news and updates if I'm not connected to the Internet. So if you're connected to the Internet, you're going to get news and updates from Cuba's. That is what comes over here in the right section. There is a recent and then recent explains your recent projects. Let's assume that I've already done some projects those projects will be see will be saved here, So any time you open, keep it for the first time. You have the option to select the projects you want to work with who if you are doing something like an Acosta guitar with of oak are you can go with this precept and you can get something nice out of it is also very nice. It was a clean e g top, lots of whole car. If that song we are doing is a cleaning a guitar with a four car, you can just go straight up here. And you can also take this presets risk or in the our present, so you can. Also, if you want to use it for scoring, you can choose share. No composition, Piano trail string Quite it. You know it depends on your your taste and what you're going in. Fourth, and then there is a production as well. You can choose from the production process if you're going for a blues rock production. If you're going for a classic rock production, you can just choose a preset and is going to pop up. But for the purpose of this lesson wouldn't chosen Desprez it for now. In this section, we are going to go in for creates empty and then creates the folder and name. It's let's see Cuba's Listen one. The reason why I'm doing this is everything we are going to do will be saved in this particular folder. The Cube is Lesson one folder, so you select Cuba's you make sure that Cuba's lesson one is selected and then just go into selects Foda. The moment you go in selects for that. This is what you're going to have over here, and that is how the whole interface looked like. 3. Cubase setup for an easy workflow : you base set up for an easy workflow. Our main goal is to set up Cuba's for an easy workflow in this lesson. So what we are going to do is go straight to studio and select studio set up. This is way Select your Would you ask you the last years a driver that comes with the song card and it's going to help the workflow in Cuba is to keep things very simple. We're just going to sell its our issue according to this name off our song card. So in my case, this name off my sound card is far struck. Deal. So I'm selecting this US My I ask you in your case, you can select any ask union Depends on the kind off song cut we are using. So take that into consideration. So let's zoom. In my case, I've got far struck. Two. It's selected and then we just go on. Okay. After selecting, you're going to get this option. Do you want to switch to us? You drive. I just go on swish gets switched to it and then you you click OK 4. Cubase Audio setup : Or do you set up input and output configuration in this section? We are going to configure our audio inputs and outputs, and by doing that, we just look it studio here and then you click on studio and go toe audio connection. Would you connection that the shortcut for that is therefore so you can also go straight? You can hit a four on the keyboard and issue be there. So after selecting it, this is how it looks like. In my case, I've got two in two out. So I've got what left and rights inputs wanting to in my outfit. Sections also won into What we are going to do here is to configure our input. So in this case, we are just going to add a new bus. So you click on her at bus and it makes your mono is always selected and name. It's Volkow. Make sure it's mano we just needed one. So the counters only on one and go on that bus. So after adding the bus, we have to add another bus. In my case, I like to do a guitar as well. I'm good at another bus and name it guitar make sure Manu selected and just going at Mass and not it. Now we've got the bus for our guitars in the box for a full cars. But we have a problem here. The our routed on the first inputs So we have to separate them now What we have to do is you go on to get us. In my case, I like my guitars, Toby, on the second input. So I put a guitar just by clicking here you select stereo in right for your guitars and then we should be good to go Now let's configure the outputs By selecting outputs We're gonna see that we have your story out. We have our speakers, a stereo and our order devices also selected And that is our song card. The name of our son card should pop up here And the device port is one into one is what is left and two is for the right. Now. Since we've got this set up now we can start our class 5. Creating an instrument track : creating an instrument truck with Killian. We're going to learn how to create an instrument truck in this section. Now, by doing that, you go, you go to the right section and didn't make sure that VSD is selected. Click on that and it should get a pop up like this on your screen. Now what we are going to do if you're going to look for alien and I believe everybody, I've got Hayley on on this on his Cuba's. So you make sure the out with this on stereo out Don't change anything over here. Just go on, Hayley on and go on at after You added, This is how the hell on looks like it's a VSD instrument so you can play or keyboards with it. You can do a lot of things. You can use loops. You can do a lot of things with Helen, and we're going to use its in this course to choose a tone in Haley on, go up up here and just click there and then it should get a pop up like this. Now you can do it. Such for the tune you're looking for. If you're looking for hip hop cannot think you can destroyed hip hop hip hop and then you're gonna get some hip hop, Cannot things. Yeah, so I'm just really choose randomly. I'm just going to choose hip hop kids one, and then we're going to use that for our drum session. 6. Tempo or Bpm setup : set in your temple or BPM to choose your temple. You just go down here and you choose your temple here. In my case, I've chosen one sister, So you double click. You just double click and type 1 60 and go to enter, and then that's all your find to go. 7. Metronome Activation : Metrodome activation. We also have to put our metro non own so that we can be in time while sleep late to switch up better in our own. You just go here down here when the transferred. And if you look at it over here, that is to activate the Metrodome and see so for Metro, no. 8. Drums recording starting with the kick : drums record in starting with a kick in this section would like to renamed the truck the name its kick. I do this because it makes the work very simple. So you can separate your kick and your snare your high heart and or the instrument so that the mixing process becomes very, very simple for yourself. Okay, so if the name in its kicking, just click here and then you are good to go. So playing just the kick. Okay, so let's assume that I've played this kick. That's my kick. You just double click, and you're gonna get it in the media section. So we have to make sure that everything is on the grid because we are playing the 44 counts , so it's must be on the grid. So in this section, you just go here and then make sure that is un agreed. That's very important. Okay, we're going to Okay, that's okay. Now, by just selecting and then holding this side and drug in its you can just shut in the media notes if you wish to do that after that, we're just going control a and select. Oh, and go on cue to Kwan ties it, and then you should be good to go. Now, the next time you're going to do here by clicking on the season's over here by clicking on the Caesars so that we can cut the beat and repeated So we cut that meat by just clicking on on it and then issue cut it now will be elected this section because we don't need this section. So we're gonna elect this section and then also, what would do this? We have to cut on the right part. So after this this first beat, we are going to cut the section. Apparently, we are playing the same thing, so it's the same thing. So we just have to take this and take it off and just repeat this 16 control D on Windows and command D on Mark. And then it should go like that. Just like that. So the number of times you want Okay, So let's way wanted to this section. We just go on that, but Okay, so this is our kick, So we want it back. So 1234567 Lena at a bar States bar. So we have to dope duplicate this and then we're We're good to go now by cycling. It's if you want to cycle, just hit on P and should be able to cycle it well in the short cuts. Whilst we go, it's very, very important. It makes the work very simple and it saves you a lot of time. 9. Recording Snare drum, hihate and percussion : cardinal a snare drum. We are going to be ardent Allison there to this very kick. So by doing that, you just go here and then right, click and art the media truck. Now you name the beauty truck. Let's say our high house or Senate. Let's listen there. We need its name and then just go on at after our Did you see that it will pop up over here . Let me just close this section so you can see it very well. Pops up over here and then choose the channel to Channel One later will be separate in our trucks. So you're going to choose Tana one so that we use the same tune for everything. So let's a disaster net. So we want to record arsenic by clicking play and click and record. We should be good to go. Okay, so let's assume you're happy with this. And then is the same process we did to the King. We're going to do the same process by just double clicking and then go on control A. Make sure it is this media sexually selected. You click on it and going control A to select everything, and it's an hits Que On your keyboards You go on cue on the keyboards and you should be good to go. Okay, so after you've done that, we assume that we are just We just made a change of the lot of sexy. So everything is OK, We're going to cut this off and then duplicate this one and that we should be good to go. So the beach of sound like this, but so it's going to repeat itself the same way one so we don't need it anymore. We're going to be building it up until we get a nice song out of it In this section will be out in our high heart truck to this very truck. So you go on, admit the truck and the type of name as high hearts. Just our truck, for the purpose of this course are like you just let China one. Now we're going to play our high hearts. Let's assume that we happy with this high hearts when we have to do is just double click. It is the same process. You select all and then quantifies it. And then he should be good to go. You're going to play it and check it. If it's if it sounds good for us, we're keeping like that. Yeah. So I think it sounds okay for for the purpose of this course. So I'm just going to cut this section and then select the section and dialect, the system, the school and select. Make sure this is selected control d the same process, and then we duplicate. So this is how the whole beach sounds. So one thing you have to keep in mind that you always have to say a project. So yes, by seven. Prove your projects, you go on file. He don't fired and go and save. Remember, we created a folder for this, Bridget. So what we are going to do is to name the foul. So we need in our fight. Ask Cuba's listen one it is going to save. That should be good to go. Let's listen to the whole beat and see how it sounds. Okay, let's assume that we are satisfied with this with this kick and snare and then our hut. What we can do is maybe do one or two percussion into it. So we're just gonna add another mini truck just name it. The kitchen's just go on. Our truck is the same process. Machicura China One is selected for the purpose of this first cost or like you to select China one. While the music is playing, you can look for the tone that wants on your keyboard. So let's assume that are found this shaker And I'm very, very happy with it. So I just have to start recording it by displaying and recording. Okay, So the same process, just like we did for what I want It is going to cuts and then duplicated so we can just rename this Asare chicha. And if you want to name the whole truck, you know, maybe let's say you're gonna be sticking. You want to rename it, we just elect everything and then go up here and name. It's a shaker so that everything will be organized. Okay, so let's assume that I love this section. It is very six. And over here let me collides. You can color by choosing the color. You can just go up here and then this is a color, but just juices up green and coaching over here. Yeah, so you can identify that something. So I like this section. I doesn't like this one's after Take it off and then by moving drug in it here, I can just replicate and then should be good to go should play very well. Okay, so let's assume that we are finished with this hope occasion can Nothing would love the way to be this sounded And we want to move on toe our get our section 10. Recording Guitars : recording. Argh! Itas I would like to art on audio truck with the same process is the same process. It just go on art or dear truck and it's picture get. I selected. So in my case after elected, I get already as my audio input and then make sure the configuration this morning. We've already done that already, so we can name our get her here, So let's just start playing our guitars. Okay? So let's assume that we played the guitar and then we're satisfied with it. I just play and listen to how it sounds. Okay, So I didn't start on the right bar, so I just have to go, or just after cut it, you can get the situation and that what you have to do is to just go and cut it and make sure start on the bar, you can just feel it. Pull it here and to start on the back to medical. Sorry for the noise that's mine gets us the stroke. Okay, Okay. So let's assume that I like this first session so I can just click it and just duplicated and then we're good to go, so I can also add different guitar tracks to its and by just go in an art discord heart and give it a different name. Lucy, Guitar Peter. And just going out should be good to go. Yes. So you can just save your project. US war. It's very, very important to let this truck and I get our to it and see what we can get out of it, I guess. Made a mistake. So or not I would have to edit it and see what I don't like. This is so let let me just play the guitar. So we listen together. Okay, So after the session, I love this section. So what I could do? Is it just going to cut this site He's gonna cut and duplicate, just like we did? You know, just to make this lesson very, very simple for you. So you can you also try different things. I hope you know you can. Just trying and trying and trying until you get what he really wants. Yeah. So I love this site. I just have to duplicate it and go displayed and listen to how it sounds. Okay, so let's assume that I love the way the guitar sounds, and I just want to do something else 11. The Mixer in Cubase : in this section, I'll be talking about the mixer go three different type of mixes, and Cuba's now on. There is a mix of that comes in the project window, and if you go to studio, you could see that there are three different mix of, But it's a mixture called Soul F three, that is F three is full. The first Mexico sold, as in the main Mexican. So there is, Ah, Mexico. So too Mexicans or three, and it makes a console in Project Window. So let's assume we are in the project window now where you go when you go on this. Now, over here, you could see, show or hide lower zone now. So the moment you hide blow a zone that makes it is going to go off. Concede from your shorts. The mixture is gone, and the moment you you click on it, Mr comes back. So that is a mixer in the project window. So when when the Cubists talks about makes on the project with the Dallas Old plus F D. So we can go on old alternative and then of three alternative with F three, and we should get this mixture off. So the same thing. There's a shortcuts for for that, you know. So that is that this particular mixer. Now there's another mixer where you can just go on F three itself and they should pop up over here like this. That this is like a full screen cannot make something. Andi you can is the same thing. Apparently you know the same thing, but this one has got it. You can put it on the difference, Queen. Should you have two different monitors or three, you can put all the three big sex on it like myself. I've got three different money things over here. So one off my screen is dedicated to my mixer and the other screening was so dedicated to the project window. And I used all our hands for my my plug ins, you know, so at least I can't have control over my work flow. You know, it makes things very simple when you have two screens or more. But if you are no fortunate, and if you happen to have only one screen is also cool. You could just use the ones queen you have by just using the Project window mixer and then you Can you Can you go on the snub over here? You can be situation between they insect. You can see they just like I saw just like over here, just like in the short. You know, I can get my insect over here is the same thing. So when you go on one you that made you you disengage a three and then uses Mexican project window. You can also do all those wishes by just going target on this this fader section and then choosing the kind off. If you want to fade this alone, you can get a fetus. If you want the insects also, you can get it and then if you also want the sense or so you can get a sense Also, in this case, you can have all the fixings over here so you can see which come out effects in the sand off which I know another you know, it makes the work very, very simple. Cuba's it's built to make things very, very simple. And that's why I really I'm sticking to Cuba is because, you know, I've been using pro tools or so I'll be using that idea adobe. I'll be using prisoners in the prison. This was okay, but now it's in the current updates. You know, Cuba's this far ahead off all of that. Yeah. So it is a very, very good thing under if you also there. So they are different type off access. I said you can go in the studio and choose the big star three. And then no one pops up over here on the different can, you see. So as you can see, we've got three. Different, isn't it is very one here. And then this one was over here in the short, This particular mixer, this mixer, and I got to go on every and get in. And that makes over here story the mix up three. Is this particular section this small mixer? Yeah. Yeah. So that is what the Bexar does. And you know, you can just if you happen to have just one screen, you can just be using the screen and you should be good school. Let's say, want to apply effects. And so, by going to the other channel settings And one thing about Cuba is documenting Hoover. You can also read what it says And also I understand it in your own way, you know? So you just click on the button over here. There's well put. I fix. And so I've already routed on Effect sent, and that is the river for demonstration sick. I like to other revenge by this clicking on Listen up. You could see that there's a revenge porn. Just listen to it with. The point is, you don't have to put a lot of riverboats into this. I just wanted to feel the river, especially for beginning Those who really do understand really wraps and all that, so that those are from the effect we use in production. And I think it's it's a very positive thing, asshole. 12. Electric Piano and Conclusion: recording our media electric piano. So I just want to do a keyboard under it. And let's see how that goes. Also, make sure you look into the estimates to bend over here. There's going, are new. And in this case, I like to choose here on Sonic, Hilly and Sonic. Yeah, so I didn't just one instance that this account is only one. So you go on art, and then you should get him. In this case would like to choose a different tune for Helen. We like a piano. Make sure you click this section and then you can such piano over the in my case already have it here. So I just have to select e piano electric fan over here in your shorts. Just have to select electric piano. And then it should sound nice. Okay, so let's just try some piano field and see how the music sounds. - Okay , so let's assume that I like the piano. I just did. And then So I like to edit it and see what it's No. What is no good. You know, I have to cut its just like we did for the order sections. Yeah, So let's just go straight into the media and play from top listening. - A lot of things. You can be adding up, you know, to make this a very nice in this course, you're going to let that little things. And this is just the beginning of the course, And I hope you guys are really enjoying it. Wow. I think the session is getting very, very sweet and nice. You know, this is the first lesson and subsequent lesson. It's just gonna be sweet, you know? So thanks a lot for joining me and see you next. 13. Tools and Short Cut in Cubase Lesson 2: Helen will come to listen to in this lesson, we will end in the shortcuts in Cuba's now on the key Port one, its object selection to its foreign selection and the is with scissors and four is for the glue. And five five for the series are now on the object selection. We've got three different double over this election. So the moments you press on one once for once, you're going to get a normal over the selection, which this that is what we are going in for the moment depressive. Two times you get a different one, and we're not going in for that one in this lesson. But we may need it in the future, and the one you press on it on 13 times should get this very one, which is the simple of flight time stretch. That's what we were going. If you're going in for the normal size and so make sure select Nirmala sizing by just pressing on one once. If you don't get it right, you can just keep present until the icon shows like like over here. The drawing tool is used to draw events, so let's assume that I've got my media over here. I can destroy this section and by selecting, selecting two double click it and then plots my instrument. Lissy, Everyone this toe. I can dispute it over here. Blood to do a day, depending on what you're going in for. So listen, it's gonna play something like this, you know? So you can just use the drawing. 22 draw the Midi. Yes. Well, yes, we got the same too low by here. You got that going too low by here, and we got it overhead. So take notes. There's going to works only for the meaty off section and then this particular during two over here. Sorry. Works for the project. Sexy. So you have to take that into consideration so you can use it to Joe. Whatever I want to draw over there now, in the subsequent lessons, I'm just going to explain deep into its now the here is our tool. It's used to reason. So let's assume that we want to you Is this medical a section of our work by just clicking on it? It is gone. And that is what we use the results before you can use it to elect a lot of things. Range of things. I just used that you, Reza select a range of things and, you know, easy to direct it. That is what you resort to this useful are the split two issues for splitting. Oh, can also call it This is the stool, so you can cut the portion of the media with it. Explain that in less than one. So I'm going deep into it. Now you click on the glue to, and then you can use a Bluetooth to put to even together. So if I want to put this to order your trucks together, I guess make sure that they're selected. And then I just click the middle and they should be together so you can see that it has become one file I can just select once, and then it's gone. So that is what use a glue to put things together. Mutes also use to mute section two Mutis like to silence the whole section or the media or told, you know, so you can just select a range off or do old media and this apply on it, and then you know it's muted, so you can hear that has wouldn't play out the way, you know, hearing. So that's what it's useful. You can use this for old you come you told you so that you don't here to get our section on the site and so on and so forth in this section we talking about the zoom in and out Now that shortcuts for zoom in and out is she and h So you zoom in, get him out where apply ghee and any zooming with each You know, that goes very fast so you can get zoom in and out with G and H There is an important shortcut over here, and that is a snap Shortcuts, James, for that you used a lieutenant off on own. So always make sure that he used a because the moment case off, you're just going to get into trouble. Sometimes your media and audio just wouldn't fall under right places. Hasn't don't know beyond a great under numeric keyboard, we've got this sort cuts for one to start the events us into starts from scratch or to start from zero, or to start from the top, you can just go on one and the mental hit glee way. Some will start playing from where you off selected to let me just the ministry. That right person on one, please. Now you have to take into consideration that you would have to loop where this France into our plight. So let's assume that I've already looked this section, as you can see from the grid 17 two. Good 57. I've already looked that my press and P I think when you select you use up just selection tool, you select this section and then he hit on P us will end in a previous lesson. P is for loop. So I've already looked at and in a moment I want to play from the starts at this goal one in the press plea and remember places with a speech Bar express on this time. And they should be good to go a coat. Remember to always save your projects by just going on control, as you should signal project 14. Demonstration and Conclussion of Lesson 2: demonstration and conclusion in this section. I'm just going to demonstrate how to use the short cuts and tools as well. So let's assume I'm already on the splits. I've got a split over here, and then I want to select the section this section off the police. I just hit one, and I'm already dead. I selected I want to mute the sections, so I just go on seven. And then I did supplied on it. And then you can see that from the beginning. You can also decide to meet the sick is as well, you know, and to just started to get task because a mute let's say I want to cuts the halo. Nobody here. I just want to cut decision up to this. This please. Yeah. And then mute the section. So yes, muted over here, so I can just hear that Get us a long plane from the beginning of the song. Say I want to play from here, E I don't need this heart. I just muted, you know? So this is how you arrange your songs, you know, so things you don't need, you just mute them Those you need to allow them to play. You know that That is how you use it. So to make everything very fast, you know, you just moving in Europe. Just relax into your range. I want selling this. Arrange loop it, just like this range and just go on P Mathematical loops. You want to play from this? Start off the music off the loop. Sorry. If you understood from the loop, we just hit the one on the numeric keyboard completely out way, you know? So you jumped a solicitor and playing over here like this section. I go on p. You know, and then I go One, if you have your cross section of the section is very, very simple to work on. If you have your vase over, they is very, very simple to work on. Yeah, so I'll be up demonstrating that with a project so that you guys could see Howard words Chancellor fortune and seeing the desk class 15. Recording Midi Bass Guitar Lesson 3: hello and welcome to lessen three. Lesson three consists of the bass guitar arraignment off our trucks, and many more coming up in this section would have to create army truck for the bass guitar . I hope you know how to do it already. I just don't have to, you know, show you everything. Yeah, I think you'd have to do that. So you just right? Keep on decision and done. We are the army truck. And let's name it on our bass guitar. So we'll be naming it base, just our truck. And we have to make sure that we select Channel two for this in this case because we like to bring our base on the Channel two over here. So make sure this channel the section makes your channel to select it is very, very important for the base it on. That's if you select Channel one. You hear that you piano is gonna play because that is relative to China. Wants to take that into consideration. Yes. Selected Channel two over here. Okay. Make sure external to its I related just like this. And then by going to the section, you can just search for the beige. You're looking for over it. So I just run this Such a random such space. And I got this options. So I want to use electric bass finger, and that is what I'm going in for. A double click on it. And you're good to go after playing the bass would have to edit our base to make sure that everything is something. Very well. So what? I did WAAS, too. You can see from the section it was previously underneath it, but I brought it back here. So we're gonna have our recounts. The pre Continis. He's gonna go like 1234 Exactly. So that it falls on the bar. Yeah, and by doing that is going to make it work Very simple for you. And I think you'll be on time as well, either, and that we just jump into playing it any you'd have to shift everything backwards. And, uh, that is in good for for For us. Okay, so let's jump straight into the midi section. He is off to double click on the bass guitar over here, and you're straight into the media. That is our editing to in the previous lessons lesson to Wilentz. Everything about it. So you're just gonna applied over here? So what I like to do first is to fresh select all its control e just going to con ties it and played and less intelligence. Either Mystics on weighing the seventh this means and that I was 1/7 and probably maybe I can decide to play there. The statement that the evening So let me just go one step ahead. You know, I just using the arrow key on your keyboard. You can just go on and on. You know, the jury selected. I wanted the evening. Yeah. How deep? So many here. See one thing about these guitars so that you always have to make sure that they know that are too long. Cut them in and that is going to make your your mix very muddy. Okay, I think it's the sounds good here. OK, so this section I realized that they were just the two of them were playing at the same time, so I just don't like that. So you just hold this six decide, and then you cuts the length off the media notes as against senior short. Some of the notes are very low, some are high, and that is a velocity section would have to make sure that all the volumes are equal. The whole volume is equal so that we don't get up and downs in our base. Once again, click control. Everything is selected. And then you can hold command or control on your key boat and then going to function. You're right. Clicked to finish int function, and then we just located fix velocity over here. Fix velocity and you see that everything is fixed. Now what levels are equal now, as you can see from your shorter way, Yeah, So the levels are equal and then it's going to help us. Really Hear what I know so bad once we can just fish them out as it can seem Your shot. I'm trying to cut the right place so that I'll be able to double it. I presume you know this already. So I'd have to, you know, with our time on this, this is my my cuts. I just have to cut over here, take this one out. So that is a middle off the whole, it's by overhead. So there's a four bar going to stick this section out? Just really good. Make sure selected in the double. What is our bees? 16. Using Chord Pads in cubase Lesson 3: court part in Q base. And just listen, I'm just going to show you how to use the court bus, especially for our friends who don't know how to predict he boats. This court's parts are just going to help you plot your course, You know, by yes using the mounds, just clicking when you click. So it is going to make everything very simple. Now, what I'm using here is I'm using a synth. And then it took that from Haley on Sunday. You just have to click on the hill and cynic and make sure you select Channel four is very , very important. It's just wonderful is go here and then you search for the party. You're going to use Suman case. I just selected the part three the police sent here. That's what I'm using over here. And to remember, the channel should always be on the Channel four is very, very important over here. Makes your child for selected to. In this case, you're just going to be using the C major code over here. Even though I'm playing major seventh hour. Just do there c major court for the purpose off this lesson and for friends who don't really understand or we don't know how to play the keyboard that the main reason I'm doing this So we're just going to do the Poly sent under our whole session, and it's not going to cause any problem what we are doing. A minor seven. But we just do a normal natural I know. And I think we should be good to go now. This is how you you look, hit the court part. So let's assume that you've already selected your since you've done your you choose Inhale Ian and your channel is already set to Channel four. Come down here. You see, there was a mix over here. There's an editor here. There's a simple control. There's a court part. So this is where the final courts party just click a core part and you already in in there ? Yeah, So let's just start to record. I wasn't on your mini keyboard. You could see the c one. Those who know what politic even know if you got media routed looking to see one that is very low, see, and that you're going to get a court today. This one is assigned to this very one, so you can use a keyboard to play there. So in my case, I'm just going to use the keyboard. You can use amounts, just way of playing this So you can be watching on the screen as well and also using amounts to click on the course airplane. And you should get it rolling here. So you just recording Start playing. Let's go. Okay, so let's assume that I just played it and I love it and mark it with this. So we're going to be going to be playing it one by one. You can just play there. The first court record it mso come back to skin one gradually comes to do it step by step so you don't have to record everything once What do you have to do? Is we just record on top of it and you should be good to go? Okay, so I played it with a keyboard and I think I love this, so we have to just that it it's by double clicking. We get into the middle section and I did too way also like to bring the level down over. So just bringing it up so it fits in the mix 17. Recording Midi Celo Lesson 3: in this section are like art some self. So what I did was it's in process, just as we did, I guess. Created a mini truck. Let me just name in Salem and done. Just make your that. This section you choose Hillary Sonic meeting and the outside should be on number five. So way out of the e piano, electric bees on the electric This thing goes 1/4 e, I think. And then the 4th 1 was appalled, Totally sent. And then we're going on The sale of its allies are 5th 1 So we aren't China fight over here , so it should be the same as this channel. Take that into consideration. China five year 25 over here. Should be the scene I was trying to fight over here. Yeah, so we have chosen to settle a year. I think you know how to do that. You just go here and then you such you run the search for sale in instrumented one. Just run this such over here. Type it over, then enter and then you should get it. So I chose Celo and I'm good to go. Yeah, so let's just get started with it. - So I like to read. It's the section and then actually what is not good? I just take it out. So let's just listen together. It is very blue, one the small of the way. I don't need it. I just have to take it off. Just click on it and elected. And you don't Actually, this long notes we can just cut it a little bit, you know? Yeah. So that is it. So there are things you can just record it in the media section. Some of the things Doesn't acu come to do it? So you have to do it yourself. Manali? Yeah, that is a meeting work. I just played again and see how it sounds. Uh, yes, I just straight this a little bit. Does the velocity can just increased by this click clicking here, you can bring it down, Just clicking anywhere. Yeah, but you can see Hardwick's. So that's how you add it to media, That's all. Yet it it's and then we're just going to choose one systems over here from the section because that is what we need for this very meaty section to keep things very, very simple. Yeah, We also do a transposition of the keys yourself. Yeah, so that's that's a very simple on the 2016. You can also do that, Do you like, and then the velocity. Also, you can change it. So these are the things. And then there are a lot of things as well in the Mideast section, but wouldn't go into that for now. Okay, e, I don't know. I think it is a wrong note, so I just put it down. So that is how you edit your media is very, very simple and that I think you guys understand I'm talking about Okay, so let me just move streets to the nest instrument. 18. Arrangement Applying the mute tool Lesson 3: So I also like to to mute some obsessional, but I don't like the way it just comes in with the base and everything. So I'm just going to mute from the kick to like this in there and the high hats Let me just meet to section and probably introduce a guitar here. So just goes way. Okay, So I don't like the e p. I guess muted GPS will mute my Bombay's also and just leave me to the sickest to start with the second line, you know, So it goes Okay, so the nice by I just introduced us once a muted and I'm decision the mutes commutes tool for everything. So he just mutes and amuse way You don't want where you want you allow them to play. So it goes like from this site. I don't want a base to come this muted bees and introduce a kick, you know? So this introducing everything gradually and didn't build in the song So I'm just using the cutting to to cut this section off. Destiny is a snap working on now, I guess one car Hear music at this section? Yeah, and then also a mute this people over here. So it's like a whole buildup stuff from you, Okay, Actually is very long, is very Sunday introduction and everything is very long. But it depends on the group of the song. Every song is different. Dynamics is different, so let's assume that is well for for demonstration sick. This is what we want and we just go for that. So let's let's go. Way to realize that the seller is out from the section of Goldman Biggs and sent everything plane. So the wholesomeness playing so we can do a crash, we can do a role, you know, to introduce the section of the beach. So let me just call out this section so that you guys understand what I'm talking number. So this section of the beach are you just going to give it good color? Green 19. Setting up makers Lesson 3: in this system, you're just going to learn how to arrange our trucks. By creating Marcus, you know, we can just name the session. Of course. I named this section of Sarvis. The name also the section has a vest two or something like that and that we can also named this as the end in close or something like that. Yeah, just to keep our work very organized or we're going to do is we just go on our truck and then you look for odd Mark a truck. Let's name it. Of course, of course. And they just added, Now what we are going to do is I like to put it up. So Miska is going to be the very face truck. So let's just move it, apple Hey, and make it our fair struck over here. Yes, so we have it on top. And what we're going to do is to, uh by clicking Are Tyco markets? That is what we're going for. So you go on at cycle markets and this is a psycho Marco one for this section that I cycled . And the only thing we are going to do is to rename this So we got to come to the description section over here, if you could. Senior shorts. A description section. Just double click that sexting, David Course Cross. Sorry course. Just go on and talk and then that. So you're good to go. You're good to go. So we Harvard over here, named as course to recycle a section. And the moment we want to do our best, Our favorites. You just have to select. Make sure recycle this place first is going pee and then cycle it and then we just go on art cycle market. So you get out of motorcycle marker and this simple that should go there and name it verse 1st 1 and enter. So you know, you have your breast one over here, and this is your course section. And this is also our best to section. So let's just name we named this Create a market for this. So you just go on the sex and make sure this looked as any click on P you person p. I think we learned that in the previous lesson and that you go on, not cycle markets will go ahead. And then he should Harvard, over here. So we're just going to rename it at our house, our best to best to this phantom carried over there. Now we also have to renamed the section It Is Grumpy. And then we add psycho marker by just clicking on this section. You aren't, And then you just name it us. You're going to name me. That's what s I want. And of course, course somebody would like to say Korda. Yeah, you just go on enter and then busted him. I want to play the section that is a verse They were not going. I click under forth its moves automatically to that section so you can the moment to play way You could be playing and moving around you know your sessions. And two, if you want to listen to the end inside, you want to do work on the course section. You can just be plain and just be moving around the moment you select on locates course liquids best it moves you straight to the section and you know it makes the work very simple. Also, there is another alternative as well. You can just double click this section. Did the book click on the course reaching over here. A short is a booklet course, and you can go on one stop. Same thing you can double click here and then just go on one e Think, Look, it is very simple. Keeps the work very simple. And when you go invest because from the rest 20. Adding Loops Lesson 3: Let's assume that you would like to art some looks towards. You know, let's assume that you got some loops you want to walk around with, you know, mix. So what you have to do first is you go on the media section over here in Minnesota, consider media overhead, and then just look in the loop looking drum section. So I'm just going to shoot this looping drum section and let me just make sure, Yeah, and then I'm going to choose. The sloops are found. It's very nice. And I love it, so you can just played Stop it. But make sure this auto play new results. Selection is selected that are documented. Click on it. You can hear the sound. You can go through the sound, you know, to choose what you look like, but the moment I like this one and I'm gonna go with it. What I'm going to do now is to just like this one over here. In the moment you selected Creator, it's born or do your truck so you can just live it like this. And I'm just going to move it to the intro of the song. I want to start playing it from here so you can even forget about the drums we did for this for demonstration. Sick. You can even see. Okay, let's just mute this Drums contributes everything over here, the city Just musing everything over here and just leaving the ship kiss. Probably. They get tossed, you know, And a saint in the villa also on the cell. Oh, sorry. Sell as well. So we're just going to play this loop. Let's play, listen to it and see how it sounds. Overhit. So the moment you you click, play it place right from the section and place also in the project. So we have to get out from here. But there's going back here over here shorts just clicking on buck and then limit yard Buck . You know, you can just go and played. Now if your accent, how I located this place can just when when you interview station, you go on media and then when you go on media, you should come to a place like this. So we just choose looping and samples. And when you choose to have been somebody going to drum loops and then you should take you to the ground selection of travel apps. So here you can choose whatever loops you want to use. So very destruction are look. And to go with that, I would just like to plate so that you guys whoever feeler off it. Okay, so let's go. Okay, so I can just I can just duplicate it repeated. Even we can't even forget that made drums with did. That's what demonstrating sick and even use the loop. You know, if you find so look, that's nice. You can just loop it over and over, and then you have got to go. - So you know, the arrangement depends on yourself. Let's say let's just loop it over and over and see how it sounds from the section so I can just go on and just muse everything over here, you know, mutes everything here and then just allow you know, the flow of the of the loop over here. So just like in the look and just duplicate the loop to R, the whole son 21. Adding fx track Lesson 3: in decision will like to art some effects, just like symbols or something like that, you know, to enjoy his a song and also bring some difference in the dynamics. Yeah. So what I'm going to do is I'm going to use grew virgins for that. Art is meant to VSD art Added groove agent, You can select groove agents by going to drums. Get it over here. That is Groove Agents. Yeah, and then I just added it off already. I did it. So yeah, so if you good inside groove against you can select your tone by this going here up here and Ryan the such you know, you can go through it and played to find out what you are looking for by the monkeys. I'm looking for the charts breaker. So that is what I chose. And that is what we are going to use for our dynamic section ascent to bring some kind of dynamics into the song. Yeah. So what I'm going to do is I'm just gonna go through it by such in it on the keyboard. Or you can also go use your mouse such What would I'm just going to introduce a song with a strip by using prove agents and in your shorts you can see that this crew of agents were here, and that is the strip. That's what I'm talking about. So that's what I'm going to use to introduce a song. Okay, so you have to record it on the truck, make sure the groove agent truck is selected, and then you recorded. Okay, let's go. Okay, so that's what I want. I just record this simple thing, and then I just have to go. It's just one note. Just go inside and then make sure it's under bar, just like I wanted. So I should to do Hey, Okay. Someone places. I think so. You just have to be trying and trying and trying until you really get you get what? You So that's OK. So I realized the team is very long. So what we can do here is going said provisioned over here in this session, we're just going to edit our we've ascend a sweep by yes, holding over and under section. Until you get this arrow sits some post that we are going to click and hold it and drug to the start point here. Yeah, because it delays a little bit. So you have to do with work around it on. So you really get what you want Celebrity from starts and see how since Okay, I realize that is very fast. And so what I'm good to do here is the end section. Also, I'm going to do the same thing over. They just pulled it forward and the session is used to feed out. So I would just fade out a little bit. So I feed out on this section and Ah, this section also I hold it and also feed him. Sorry. Sits fetus in? Yes. Why? Feeling a little bit of it Unless you help it sounds okay. I think I still have to come a little bit for it. Just a little bit. Let's see how it sounds. So you force on the bar? That's what I want. And that is what I'm going for. So that's our used evidence. You can use it to play. Your drums are so you can you just for a lot of things. So this is one of the things you can use groove again for Thanks for watching on CNN s class 22. creating folder track no tag Lesson 4: Hello and welcome to lesson four. In this lesson, we'll be learning how to create our food trucks in Cubase. Hello and welcome. In this section, I'm just going to take you to how to really organize your session. Let's assume that we are just going to put all our, our drums into one particular folder. So in this case, we are creating folders for each group of instruments. So let's assume that we've got our drums kick over here. We've got a snare, hi-hat. Hello shakers. These are all drum instruments. We are just going to create a folder for all this instrument. What to do that you just go here to other foot OK truck, make sure one of the truck is selected. And what we are going to do here is just right-click and go and are trucks. And then here you just look for such four folder. You just select folder and you see that the folder is going to pop up. Here. We're going to do over here just to Nemo for us. So let's assume that we are going to name it as our drums folder, my drums folder, and just go and art. So you see the drums folder over here. Now the next step, I like to put it up here so that I can see that, okay, this is my druthers at nine group. This is the kick. It is a snare, hi-hat and shaker and so forth. So what I'm going to do is you just hold on shift and select it as Trump's. Make sure I sift and select the last one. But it's a seeker. And then also still hold or not shift. Select two trumps us in the very first one. So these are the instruments you will be put in in this particular folder. As you can see over here, these are drum folder. So what I'm going to do is I'm just going to read a script. And this time around drag this, all these files and just put them in this drum folder. If you see something like this red line, the files within Google, the trucks would then go into the folder. So make sure you see this green line and then just release, release it over day. The woman you release it, you've got all your drums in one particular folder. Now, to make things simple, I'll just have to, when I close this folder, that is my drums, you can see that it tidies the work. It makes everything very simple and that will organize. So let's assume that if you want to opinio drum folder, you just click on the section and it is opened. And if you also want to keep it simple, you just close it up by clicking this section on the folder and you're just gonna get everything close. So this keeps you awake, very, very organized. Now I'm gonna do that for the guitars and the other things as well. And this actually, I'm just going to create a folder truck for the guitars. So what I'm gonna do is I'm just going to click in the same process, just gone out. And then you look for folder over here and then name it as a guitar folder. Guitar folder. Full lines is gone at yes. So this is our guitar foo dot. Yes, that's all guitar folder over here. So we are going to invoke a toss into this particular folder. So let me just spend a photo up so that we can have the two get us over here. So he who don't shift eclectic, the last one who wouldn't shifts, good The first one. And then you drag it mixture that green line us into green arrow key. Left arrow key is showing that. That means it is getting into that folder, just reuse it in, and then you have your guitars into folder. So thus, if you are doing the same thing for the IEP piano as well, for the PLO session. What I'm gonna do is I'm just going to label it as qis us in keyboards. So everything or monkey was excluding the base. So I'm just going to bring the base to the last probably the section of of my my my my trucks. Yes. So I have my how my IEP pianos and sent and cell over here. So what I'm going to do is I'm just going to add a new instance of a folder, Edison New Folder. And I'm just going to name this folder as my keyboard's keywords. Keywords, sorry. Keyboards are seen it why? Keyboard's? Yeah. Yes. And what I'm gonna do is I'm gonna it up here. I'm just going to select the cell Lu, holding Shift. And also said it is the piano over here. Make sure everything is elected on this truck. Just moved them into keyboards and you hub or keywords over here. Now we can also do so many cool things we did. We can, we can also change the color of it or the truck because I'll zoom. If you want to change a collaborative group, you're going to do that. Let me go for this color, pebble corner colour for this particular groups. You can't break the folder down and also change the colors of the period divided by r are now going to be doing that here. Yes. So this is, you see, the workflow is very simple, so it has made everything very, very simple for us. So this is our drummer rules. We also have to move it into our drum section. So I'm just moving it up here and just releasing it in this particular drum folder. And then you're good to go. Yes, entities are sweep. We can decide to also add to our keyboards and add this last synth also to our keyboards. 23. Reverb and delay as fx send : After adding the drums group, the next thing we're going to do is you route our f x, that is our short-term IV IP and our delay. Now I'm going to use the web on the snare drum over here. So what we are going to do is to route R, F, F ST for revamp. So with simplifies to just right-click this section in this bowl and add, add truck and locate FX effects. So you just go and effects. And in this instance, let's do our delay first. So then we just look for mono delay. That's what I chose. You just select a mono delay. And you should have it in your Cubase automatically. The configuration should be on stereo, the output should be on stereo. You've got options to choose different output, but we are going to leave it are stereo. For now. For the purpose of this lesson, Cybil does stereo and afforded setup outside, create outside folder. So make sure that the discrete outside folder and just name it as delay. This click on Arch shock. 24. Routing multiple drum output in hallion: In this session, I'm just going to show you how to route your outputs using helium or multiple outputs using any OLAP VST instruments. I did this intentionally because I want you guys to learn how to route your outputs in Cubists. Nonetheless, let's start with our drums. So if you could realize we played fast kick the verifies Gecko played it with haley on Sonic. So if you click on this Edit VSD or edit instrument, you can see that this is R. You got one hip hop kit, the Samos and apparently seem kits for the same tune for all our five channels. These are channels, channel one, channel two. You can see it's labeled over here, up to tunnel system. Click on the channel one and navigates to this section. And that is where you can see that that is output. Now, the channel one is sent to mean, so less keep channel one to mean. The mean is the same as the phase output. So let's just keep our channel one to me. We are just going to align everything. Channel one is going to be the main, is the same as channel one. And channel two is going to outfit to. Channel three will be going to our food tray. Snowfall was we're going to output fall and channel five, we're going to Alice foot five. Let's assume that we've arrived at our output over here. Now there's another thing we have to do. If you check on this section, if you click, if you can find a VHD media here, you just click on the section and the chore hydride zone. And you can see everything on the right soup. Rise on ok. So the moment you click on a truck, the VSD instrument associated to it will be also be highlighted over here. So let's, let say we are on our kick. So the moment this is highlighted, you just go and kick. At the section that is the input and output options. Just click here. And good, activate output, activities, outputs. So you activate your outputs. And the moment it is white, this way, that means ILS activated. So what I did was activated 12345 because that's what we are using. If you want to activate set one, I'm not gonna, I'm demonstrating it for you guys to have a feel of it. So just click on its way and S activated. The women do tend it off, it is deactivated. So you activate 12345. So this is how you activate your output for the VST instruments. Let's activate output six so that you guys can see how it is done. So you just go and activate output. You can see that there's another channel here that is a heliocentric outputs six the moment you put it off, just keep, pay attention to this channel. It is going to go off. To the moment I put it off, this way, it is gone. We don't have the HSE outfile six, Harvard. When you activate it, there's going to have it here again. Then when you add deactivated, it is going to Harvard hours. So what I did was for the first output, which is the kick. You can see this is a kick. Let me try and deactivate it. Okay, the first output is not duck. I cannot deactivate the first output. But what I did was I just renamed the trucks the outputs. So you can just double-click, sorry, you can double-click this section intimate kick. If the first one is the kick, the second one, you can also double-click and intimate. The third one, the fourth one, the fifth one, and so on and so forth are output 12345. It is outputs. That is for our drums to take that into consideration. That is how cube is wastes a little bit complicated sometimes, but I hope you guys understand me and get me right. You can send your questions to me today, Mrs. succeed. And I'm just going to respond if you have any questions. If you do understand segment is if you want certain clarification, I'm always here to help you guys. 25. Multiple output in hallion for keyboards : In this session, we are going to create multiple output for our keyboard section. Now, you just go on the VST and try and open the VSD instrument and assume we did for the drums. The moment we select on one of the trucks, that is i E, piano, the corresponding VST channel will also pop up over here. So this is, sorry, the corresponding VHD instrument war. So pop up over here. So this is the instrument we used endow us. That is the Helion Sonic. Okay, so what we're gonna do is you're going to route multiple outputs. So make sure that the GM electric piano, that was electric piano is one main output to one. The channel two should also be on output to get channel three was empty. So we are now going to choose anything for it. We'll leave it at mean, or you can choose three for it. That is your choice. And then channel for I chose a part for it. And then we are going to use it as China for Solow, also ECA. Channel five. Channel six is our robotic voice. Make sure the output is 06, and so on and so forth. Up to the last session, the polycentric is on ate. The output is also an aids, the channel here, the suitcase is on channel NIH Misha dealt with its own output nine, so it goes on that sequence. Now I'm doing it. You can change the sequence, but the point is administered very simple and one is two is equal to one. And channel two is also equal to standard two. And it's very, very simple. It makes your work flow very simple. So let's assume that none the moment you wrote your, your outputs, don't forget to activate output here because if you don't activate, hear it here, it wouldn't work. So you click on this up and go and activate. Output is very, very important. So make sure that or you also go on selecting all output. And without one is a little bit, it, it gives you a lot of trucks you don't need. So I prefer you choose what you are using at the moment. So acti activated, this piano is activated. It piano outfit T2 is also activated. The bus is also activated. So this is, these are all my Alice would section up to the outfit nine. Yes. You can see nice activated does is output nine. So let me just try and deactivates output nine. Today you can see how it works. Do might be activated. You can see the out output, nice normal. It needs to be between the piano and an output eight. Oh hey, so let me activate it so you can see it. You can see just came back again. So you can also try to play definition. What is our base, the base that from this section. So it gives you, so this is, we are preparing the Schrock for, for a mixing section and that's why we are doing all these things. Yes. So if you want to play a poly since you can just solo it, just so only they listened so that you guys can hear only I'm just soloing only the recent. Ok. So these are, these are cellular, cellular start from the beginning of the song. I'm just soloing only the solute. So you guys can hear. Yeah, so that's how the pseudoscience and this is how we are going to mix our trucks in the mixer section. So I am just introducing you to the mixer section as well. 26. Grouping tracks for guitars : In this section, I'm just going to take you through how to group your trucks. Now, the first thing we did was folder us and put enough trucks into folder just like this. But this is also called a group. With a photo you can apply effect. You can do anytime to the folder truck. But with a group Schrock or the boss importance, it is called a bus. In our DAW like persona's, it's called a bass. So we're just going to create a bass or a group Schrock and Cubase, it is called a group truck. So we are going to create a group shock for on guitar section. Now to do that, you just make sure that a guitar track selected or you can select the folder Schrock and just go and add truck, and then choose group truck that we may choose group shock. You can see there is a stereo, there's throughout configuration mixture at a configuration is on stereo. The audio tool should be on output. And therefore the setup. We OK, we want to create it outside a folder so that we've got, we're going to have a whole truck for it. You can be able to automate the whole guitar in this particular group. So we are choosing the folder setup but create outside folder, so that is what we are going to choose. So let's name this as our guitar group. Guitar group main discord, art. At the moment, you already can see that it is o over here. Now. This is our guitar and is going today. I've already created one that is the guitar group I created. But what we did now is a guitar group me. So I'm just demonstrating what I did and why this section, we are trying to bring all our guitars into one particular track where we can add effects at once so we don't have to put multiple effect on different trucks. So just like one truck, we put I affect everything on one truck. And it's going to automatically effect or the guitars that are routed, routed onto that particular truck. So that is what we are going to do now. Now, to do that, you have to make sure that the output, this is the input and this is your output when you select a chalk, this J input section, and this is your two section. So output and routing. Yeah. So you select an output, a mixture that is going to the guitar group. I've already created one. So we are going to choose this. What we created was a guitar group me. So we are choosing this a guitar group. And then you go to the second track that Nikita. And also choose the same thing as your guitar group. Come to the section groups which use a guitar groups. Okay? So this is our guitar group and we shall have it pop up somewhere here. So the first one, this is a guitar groups. We have overhead. Yes. These are Guitar me, don't forget, this is what we created. But in this instance, we're going to use this very one. Overhead. Overhead. So what I'm going to do is I'm going to move this guitar group up here so you guys can see how it works. So let me just try and bring it up here on top of the guitar, me. So one cutie we can also do is you can route it this guitar group into the guitar mean, and that is why we created a guitar group me. So we are putting this guitar group into guitar group mean, meaning that this guitar group is going to play the guitar group mean. And from the github group main, it's going straight into our output and that's what we are going to be hearing. So just like we are going through three different channels before we come out. I hope it makes sense over a, ok. So this is our guitar group and our group shock. You've got cool things you can do to it. In the previous lesson, I showed you how to create your f x truck. So the FX Schrock is what we created over here. We've got our short delay, sorry, gotta shortwave IP. And then we've got our delay overhead as well. 27. Grouping tracks for drums : In this section, I also like to quit a group shock for the whole drum folder. So what I'm going to do is I guess electron drum, this whole folder, no credit a folder for it. Our dram psi we didn't afford. So we just gone. It is gone. Part group. Yes. So this group, we make sure that is created outside folder, you know, they afford us setup is create outside folder. So we are just going to name it as our drowns group. To keep things very simple, we are just preparing yourself for the next is just go on drums, group in produce in the Adobe's co-ed bus. So you can just rename it us drum group or boss o, anyhow, you name it. So just go and add. And this is our drum group is also over here. So we can do so many cool things with a group truck. We can automate it as in change the levels, panning left and right. You know, there are a lot of cool things you can do with this. Recite it does why it's good to, you know, group your trucks and send them to different buses. So know our DAW scrollbars. Yes. So that's what we are doing over here. So this is our drum group, this drum group over here. And when you open it, you can add cool effect, you can compress, you can do a lot of cool things with it. 28. Grouping track for KEYBOADS : The next thing is our instrument as well as our keyboards. So we are just going to create one group also for all the keyboards, all the keywords, you're putting them into one group. Everything that is playing keyboard, you have putting everything into just one group. So let me just do that for this one as well. While we are going to do here is just go and add and go to Add Group and name it, maybe keyboards group. Remember that group is different from the folder. Keyboard. Keyboard group is go and add. Yes. So what we are going to do is we are going to highlight on our keyboard folder. Where do we have our keyword folder? This is our keyboard folder. This is our keyboards, everything keyboards this year. So we are just going to go one by one. We are going to EP and over here. 29. Mixing the drum loop : In this section, we're just going to try to, to mix our loop. As in the whole drum mics. We're doing our drum mics at this moment. Now let us start with loop first. And then what we are going to do is you just go into loop. And we are just going to look for a compressor over here. Now, before we do that, let me just play the loop. Whit without anything for you to harbor feed of it. In a mixing section. Most level Carl is on top, followed by the drums, NDA, though add-on instrument as well. So what we are going to do now is just go straight. And since the loop is our heavy pot is heavy patois song, we're just going to focus on the loop for now and then apply this compression because I love the way it sounded at the moment. Remember that we don't have to put every plugin, we have ONE assigned to make it great. So what we're going to do now is just look for a compressor and apply it on this loop. So by doing that, you just go under Edit Channel button over here. Make sure the loop is, is is chosen. The reason why I'm doing that is because I've got a story out and after routed anywhere. So you can just go on the loop, that is a 100 drum loop, is the same channel over here and the mixer, which has gone at it over here. And we are going to look for a compressor. Now I'm choosing this particular compressor. Editor cube is default comparison. I believe everybody I've got this compressor now we are going to look for Tiertha drum loops. Yes, starting with the presets, because it's the best way to start your mix is a best way to start your mix. Now the moment you apply the preset econ, adjust things to make it sound good. So let's just apply it and see how it sounds. After applying de compressed saturates. Double-click. Mixture is selected and then decile. Let's just play the sound and see and listen to how it sounds with a compressor. You can see that most of the low end is more compressed, especially the kick where the key comes in. You can see that there's something that holds it. You know, that is how the compressor without, I guess wanted to make a compressor very, very simple for you guys. And I believe this course is Pepco slip or Guinea. So I don't really have to go into a lot of things as in how things work and know that I just want you to get it get it started. And as time goes on. It is good to understand how things work or yes, have a feel of how the imprecise attacking that the drum ended the release as well, as well as the threshold on this particular compressor. So now we are doing a threshold of negative 18.4 DP. That's our treasured over here. You can see our releases like 134 microseconds. And we've got an attack of 4.5 milliseconds, sorry. And a ratio of probably 321? Yes. And at different costs, I'm just going to explain what a compressor doesn't know that. This is just a beginners tutorial to get you go in and just get kickstarted with your music production carrier. Yes. So we've chosen our tight drum loops as our presets. And what I'd like you to do here is to, we're just going to make some few tricks. You can see there's a dry signal over Hey, hey, what advice? Ignore das is the dry signal and the wet signal. The wet signal is the signal with a compressor on it over the effects on it. And the dry signal is just a dry as a Sounds like there's nothing on it. So we have the option to blend our role loop with the R process loop. Now we've processed our loop with a compressor. So we have the option over here to add our role loop. That's a dry signal to the process one over k. So I'd like us to push it up a little bit and listen to the changes. So what I'm doing here is I'm this, I just put it the mean level out, sorry, a little bit down. That is output of the kick. And that's what I'm doing over here. And I'm trying to bring in the dry signal a little bit sooner or half the Canal heavy punch in the loop. I don't like it to be more compressed. And probably I'll just bring the threshold a little bit down to around negative 22.1 for this particular loop. And I'll keep my dry mix around 44%. You know what, a mixed process, there is nothing perfect you understand you always have to go through sometimes you can do something and come back and said, okay, I would like to change this. There is no one way to mixing. Yes. That's let me just put it that way. So there are a lot of things you have to slow yourself. And then if it sounds well, I mix with my is most of the times I don't really always mixed with respect, with respect to tau or the spectrum analyzer. It is very useful. I use it, but I'm mixed with my II. And what you hear is what is going out day. That is my final word. Okay, so I'm settling knots. A signal of lithium, 6% of the dry signal. And I'm just going to leave everything just as it is. And let me just push it a little bit. Are 218.55.8 is okay. Negative 18 plus H. It sounds great for me. For now. I think I love the way the loop is sounded. I just have to push it. Mean outfits as in the mean level and it'll get up. And that is it. That is it over here. So let me just plead and listen to it. So I just added a little bit of probably negative a little bit of level two it that's what I'm doing overhead. Yes. So we are, we are, we are currently around negative 4.31 and the channel volume of the loop. So I just push it up a little bit and I think I'm just gonna leave it this way. Now in the mixing process also, one thing we have to take into consideration is that we always out up to sit to the 0 mark overhead running a automation on the, that's why it's not moving. But let me just simulate book Domitian and they just go and 0 makes sure that it's 10 overhead. And we always have to leave probably negative six dB of headroom. Far more stream between this 50. Just around the side is OK, So that we have a little bit of headroom for mastery. So what we are going to do is to bring everything down. We are bringing all the issues and the levels of the instrument down, bringing everything down Sudan. We can have our, our, our instrument and everything. And also be able to have our minus six db of headroom. It's very, very important, especially for the mastering stage. So what does we're going to do in the mixed it for, for, for the production and the recording stage. Taiwan, you can increase on levels to theater, especially if you want to monitor yourself or something like that. You can monetize yourself after you finish, you just bring everything down by in the mixing stage mixture that this domain output, which is the shock, is set to 0.0.0. And also make sure that you have like minus six of headroom is very important ministers of headroom. So everything we are mixing should be around this section, should be around the section. See this mark. Everything we're going to mix should the highest peak should be around this peak, there'll be hub this headroom from this section to this section. We have this headroom overpay for mastering. Okay? So what we're going to do is to bring all the levels down. This is one of the steps you're going to do after we form pairs are our loop. The next section is to bring all the levels down. Okay, so let's do that quickly. In this case, we're just gonna create an output file kick and that we are going to route it into our drum group. So let's just listen to the kick alone and see and hear. And also identify the outputs for, for this particular kick. Because it's a midi track is a midi instrument. We have to check the output and okay, so this is our kick to, that is a kick. So what we are going to do is click on Edit setting. There's another option to do us in the mixer, but I just want you to watch the project walls. We come into a mixer board so you understand what is going on that's in a and what is really going on. Okay, so you just go on the Edit Channel button. There's an output section over here. And that makes sure that we are out in this name to our drum group. Two are drawn, so yes, select Drum Group as the output. Let's kick is going to play, true the drum group. Now we are going to do the same to Alaska over here as well. So let's just split a snip. Ok. So this is snails, I'm just limited snow. So we didn't convince ourself snare. And we're going to do the same tour it. We just go on. The output. That is the third targets, the autosomes, Dario. What we are going to do is shut sending it to our drum group. Yes. So you are going to repeat the same thing to the hi-hat, the high hats as well. So this output is also going to our drum group. Parsec geysers are going to go through our drum group over, Hey, so we're selecting our drunk group for the Chicago School and for the roles. This wouldn't believe in them like that because they are all running in a different group aswell. Or we can decide to also put down one also into our drunk groups so we know that the drum is one. So let's just go and edit channel. And yes, go on day outward over here and make sure the drunk group is selected. So we have done the same for our rules as well. Yes. So we've got all our drums going through this particular group. This is a group truck we created earlier on. So if you simulate it a group, you could hear all that Rahm spleen. And now so many cool things you can do with this. Let's assume that I want to bring the level down. I can't write and automation our explicit permission for further on, but I just want to demonstrate it a bit and I just want to write. And you can play around with the level of the sea level is coming down. Yet. Woman deeply from this section is going to read the automation. Just did. So it's just a demonstration of the reason why we are doing this particular call it drunk group channel. Yes, it's really going to help us in a lot of width. So this is our, our, our drum group. And to bring it down, what we are going to do is also located on the mixer over here. This is our drum group. So we're just going to bring the whole drum session down at once and everything is going to work this way. So we group them so that we can have control, but then would just one up. And that's what it does it, why I did it this way. So this is our drum group. It just bring it, it written down here. So you can control the levels of school. Now also, walls, you are bringing it down so you have to always watch the mean output level. We can monitor it also by going to this section, whichever me Tai selected. And then laws you play your your drum. The drum group. We want to look at somewhere around the 16th. Yes. Or under section is ok for us. Is okay for now. And this is our drums. 30. SENDING KEYBOARD FOLDER TRACKS TO KEYBOARD GROUP : And this section we are just looking at in the E piano we had seen in its straight into our keyboard groups. So he has gone to edit button over here. And then go and they target the same as output and makes your keyboard group is selected for this for the piano. And we are moving designer that EPM and instance_of piano. So we have to do the same thing to it. Yes, it's blend is a different epi and is a differently piano solo. With this one, with this particular EPR, No, I think we are not using it at a moment to let me just mute and less move. She did a synth. So this is asymptote. This is our St. less dry look e to the st. Okay, so this is a polysynthetic. Think I spelt his wrongly. The policy and so this is our policy over him. Yes. So we are going to do the same thing. We click on the Edit button, look for the output and make sure that the keyboard group is selected so you sell it keyboard group for the output? Yes, ought to play then located output. Ok. So it is a sell out. We are going to do the same thing to it. Click here. Because go and output target, make sure that your keyword group is selected, so does it. And they were good to do the same thing also to our sweep. So let's see what a strip we can leave this cheap, just let us it is with us. She is no problem. You can leave a streak like that. And then there is another instance of the scent also over here. Dissent. Descent is very simple. Okay, so this is a two way. Let me just rename it, will listen to you have to draw the output also to our keyboard group. Yes. 31. SENDING BASS GUITAR TO BASS GROUP : And then we do the same and also to our base. So this is our base our base pneumonia like to keep the base in a different group. I guess going to create a new group. And Nimitz are based, group based group. This addicts. And send this output to the base, the base group over. Hey, guess what is the base? You always ought to play to locate away this. Okay, so this is the piece out, this debate that there is a difference between the media and append the normal output. So this is the output. You can see that the knobs are defined only go to the middle section also. You see that a midi have got a different note as well, the color as well. So there's a little bit of difference between will immediately do have the option to edit channel, would immediately have that option. So the moment you do have the option at the channel option, if you don't adapt as a midi track and t, you can browse the output from this section. Ok, so this is our base we are going to do is we're just going to edit and send our output to our base group. So this is our base group, is. 32. Balancing Keyboards level: In this section, I'd like to bring the group as in the whole keyboards section down a little bit. So I'm just gonna do it by just bringing in and up. You can feel it over here. So half control that, oh, the whole hardly call it keyboard Session. Now the basis otherwise. So I can discipline the pass or so down. I'm keeping the group's closer to instruments that are, you know, this is a keyboard group after I'm just going to move audit groups into one side. So I just want you to understand that this is a keyboard group and that is a last truck. Or the abstracts dose here are the keyboards. You can see there's a keyboard folder, and this is the guitar group. These are guitars. We have the group. So I'm just putting everything. The groups are not H2N suited, you understand how it works. The next thing we are going to do is to find a balance between the bass, drums and also the keyboards section. 33. Balancing instruments: And so what a moment, we keep everything balanced and we have our negative six headroom. I think we can start the mix from that section. So let's, let's just molasses. Wow, I played a song. I wouldn't be talking about dissections, so yes, be watching. And if you have some C, I'm just ship it in. So I'm trying to balance the toggle possible. There are some delays on the guitars and has been going down a little bit. Yes. You know, it's halls, our efforts trucks. And this is how you select door FX, usable under this section. And the dinosaur to revamp their delay. Your f x o is line up at the top, decided groups trucks. And this is the main output and this side chain is Yes. So I'll be explaining that further. Don't be confused. This is just a beginner's course, NDA, I guess onto breadth. Breadth things douse, very simple for you guys to really understand it, okay? After ofs, that public group we can always do to exceed all. The kick alone is very low because I'm bringing it up in the keyboard. Piano is low. We've got our piano nub. Often the hosts a whole channel dedicated to our piano. And we've got a channel for the whole keyboards session as a group. So I guess what do you guys do less if I'm blending EPR naught. So if I'm playing piano, I can this point here. So I can always work around everything. But if I wanted to work on the whole keyboard, 16 does go to the keyboard groups over here. If you can find it, just click on that truck over here and you should try this as our keyboard group, our keyboard group over here. So I can just go into Keyword Group and bring everything that is this particular key, what group? And bring good everyone. And this sucks, and I place, so kinda revamp own on the E piano. Yes, so what I'm going to do, I'm just going to bring the reverb down a little bit. I think is very sounded very loud. So that's what I'm going to do here. 34. Compressing the electric piano : I can decide to mix a kick drums and everything, but I just mixed the loop. And there I think is sounding OK. For me, I just added a compressor as I did. It's on a docu for me. What I'm gonna do is I'm just going to bring into E piano and then also bringing the supports instrument as well. So let me just go on and look for a compressor over here. And I think you guys should have this compressor. Everybody's, you have it. This is the normal compressor in Cubase. Just go for a ballad piano and I'm just going to take the things there and we'll set up over here. So let's just have a feeling of it with the compressor on it a little bit. And Amelia's also sit down and do something around 404. Okay, so let's assume that I love it. I like the way some here and there is going to dry mix, 5% of the dry mix. Two keyboards. Let's see how it sounds. Now there are some changes as a beginner, you didn't notice the changes as well, but just follow along and as time goes on, you're going to understand certainties. Okay? I just don't want to make things more complicated for you guys. So we are, what we are going to do next is we're going to add this EP. No, it just goes straight and look for one equalize area. So we've got our session over here as well. This is a collider and Cubase. So what we are going to do is just go on the section and press preserved Monika and load prison. We are going to look for electric fan or better still would just sexual piano overhead. And I'm going to choose electric piano that mix. Yes. And I'm just gonna play around a preset is the fastest way to get things done. And also you are going to land. Just keep watching the KFC. You know, there is a low cut overhead, a massive low cut off our own lessee minus 70 to 8080 dB, Something like that. Yeah, so there is a massive blue cutaway is around statutes are the two heads of low cut. And then note I'm going to do is I'm just going to walk around, just be using this precept and just changing things to suit the kind of music you're going in for. So let's just listen today. If piano and dead just took things around. One thing our low end is the moment you have a lot of low end in your mix, it keeps it that makes very muddy. So you try to cut some laws of from the mix to keep things very simple guy just cutting a little bit of our low end over here. So that will help the there are kicking our base will have the await to yeah, it's just like creating a way for the kick and base. Because the moment you go very low, you know, it's going to keep things very muddy. Yes. And I know as time goes on, you understands it in days. For now as you're learning, things will be going to be like, what is this? What is that? But with time and practice, I think in a lot of research, you are just going to be fine. So let's just keep our EQ section. Remember I always mixed with my year. So I'm just listening to how it sounds and if it sounds okay for me, I'm just going to leave it like that. So this IEP piano sounds preferred for me and I'm just leaving it just like it is. Yes. So I've just got a compressor on it. I've got one EQ working over here. It has my EQ. I don't have it on this chain. The channel strip us well over here where you can see what is going on over here is a channel strip. I've got my EQ on it, the compressed size of plug-in. I'm no using the channel strip compressor. I'm just using the normal BST as a comparison overhead. And then this is my EQ here. If you, if, if you are someone who like figures, you can also check or the fingers over here and just enter them. Just assessed it is. And you're going to get the same settings us out done. So let's just move Street to the next instrument. 35. Mixing the snare drum : The next thing I'm going to work on, this, my snare. Now of God, a kick overhead is kicking me, rename it to kick, kick so you guys can know what it is. This is a kick is a second kick it place only on my cross section. This is my Kouros links only on the cross section. So this particle a kick out, I'll be working on it later on. So lets just move straight to the snare. I like to add some kind of revamp to the snake. Yes. Or compress it a little bit and add some reverb bus World. So let's just look at the snails of the output or resume from this section, thinking Harvard somewhere here. Okay, so this is asking, so let me just name it. Destiny is Astana overhead. So we're just going to add some reverb over. Nando's, a reverb we choose. We are preparing for their mics, so I'm just going to activate this reverb on it and probably a little bit of delay, you know. So you just by choosing day, if you want to choose as you just select here. And the dissident is a shorter event. So the moment you choose sorcery Webb is going to pop up a light and you can activate it by just putting this up on. So that is what I did. And the level at a broader level down, like this is how you do it. I think I elaborated that on my previous lesson, so so I'm just I'll be clean it and also here in the US and amount of reverb by neat on the snare. So let's just listen together was applied to revamp on it. Okay, so I think around minus 15.8 dB is as a perfect blend for the type of song I'm doing. So this is the reason I'm going to apply it on my snare. And also there is a compression going on over here. So I know, you know what it is. So I just went and the preset just choose dance. And I tricked the, press it a little bit to really have a feed of what I want us in. I misread my ears solo. I don't mix with numbers. Yes, it's very, very important. So your ear is the best tool for mixed. Yes. So let's just work around this compression as well. So I'm just adding a little bit dry so it now, and also doing a threshold of around negative 21.8 dB. I'm doing a release of 532 milliseconds. And with a ratio attack, I'm just gonna leave it like that because a lighter weight sounded as in the Willison, a sound in now. I think I'm okay with it for the purpose of this lesson. Yes. So this is what we did for arsine. So I'm just going to add a little bit of delay to the snare and just listen to how it's going to work. Because Gandhi sought. So around minus 23 dB is what I chose and I think I'm good for it now. Now, would, with regards to equalization or like the weirdest snare sounded originally. So I'm just, I'm not gonna do any EQ to this particular center. I like the way it sounds. Remember, mix with your EAX wherever important. Don't mix with fears and all that. You know, it's good to know that it's very, very important. But appointed, What do you hear? What the other person is going to here? So make sure that what you are here and it'll right, and if it sounds good and is perfect, then does sit. And always remember to save your project as very, very important. So I'm always save in my project asshole, boss. I run this mix. I realized on a delay. So Mike, I'm just going to bring it up at a low bid, down a little bit. Okay, so let me move straight to the heart. And arhats starts from here. 36. Mixing the Hihate : In this section, I'm just going to apply a little bit of compression to our hi-hat. And I choose the same compressor we use previously. And I chose the Pompey drum overhead. Now let's listen to it and see how we can work things around. Now that I please a little bit of short reverb as well. So let's listen to it together. Yeah, so I played a little bit of reverb on the hi-hat, just a little bit of Eva. And I'm doing a compression available compression over here as well. And deliberate drives saved now and for the real time on these, Gandy said it to earn certain Teddy and keep it reshaped at four is to one. And I think that is okay for now. And let's listen to the song together with hardly call it listen. And a look as well. I think I like the way it sounds. Let's just move straight to our speakers. 37. Mixing shakers percussions : What a Sega 16, I'm just gonna add little would've shot we live and do a little bit of compression as well using the same instead of our compressor. And let's choose something like application or something like that. It's just simply crushing one. Let's listen to how it sounds and we can just flip things around from here. I think it sounded okay. This move straight to the next age treatment. 38. Mixing guitars : Our next instrument is odd guitars, and what we're going to do is add a bit of reverb and compression and equalization aswell. So let's just listen to their guitars and work on it. I'm just looking for a guitar. Appreciate. Okay. Let's just go for something like a clean font data. Okay. So I think that cost of guitar picked is going to help us ever hit. Yes, I love the way sounds. Now remember this effect we are applying is on the truck. So under guitar truck, you're not working on the group truck will go to the group truck. This is just to work on this particular guitar. And we are working on the guitar and elite guitar separately. Okay. I'm trying to cut some laws. Okay? So I think I like the way it sounded here. So what I'm going to do here, just go on the channel strip. And I'm just going to apply a compress our hit. Yeah, so you double-click on the compressor is short. What I'm gonna do is just use a threshold arrive around. So let's assume that I just like that we had created this guitars over her. I've got a threshold set to like minus 21.2 dB and the ratio of like two h 21500 milliseconds of release time and my talk is 47 milliseconds. Okay. So there's an Auto Makeup Gain. I'm not using that under her child safety analysis up to the activator site chain. What I'm going to do is just leave it like this, just like it is. And we have movie Street to the next channel, and that is the, our lead guitar us. So let's just move straight to their link guitars. Everyone ruined by a pond, the Hittites off like two negative 51. So that means it's going more and left side of your headphone or your speaker. And deliberate eyes play on the right, 45 on the right. So explain more on the right than the left. So that's also very important because we can keep all of them dead in the middle of the mix. Double Karl will come in the middle of the mix. And ADA instruments should be separated from the medial. So don't fight with the Volcker is a beginners course or those intermediate and Prof. professionals. I don't think this course is for you. I stated categorically that is the beginner's course. So I'm just taking things very, very slow and very, very simple as well. Okay, so this is our lead guitar or we are going to do here is also odd. Some compression on it. Is him compressor you have been using over and over. You're going to add one incident of that compressor. One instance of the compressor, they stick became guitar solo ahead and hear how it sounds. This is our guitar, the truck itself. This to shock. We are moving straight to the guitar group. Yes. So this is where we are going to add our final compression overhead it. And there's gonna be a little bit of reverb as well here. So let's go. 39. Mixing poly synth : So this is a pullet saint would have to work on it. So what I'm going to do here is to deliver more compression. Just look for something around St. Okay, so we're Augusta distinct. I'm just going to leave it very simple. And is going to choose one precent of where there's a dance master. And I think I'm just going to keep a little bit of dry signal down and keep my treasured around negative 285. And I know what I think I'm just going to leave the release time, everything just like it is. I'm living in land that end I would do a little bit of EQ aswell over. Hey, let's work with the channel strip. And let me just put this dq on. So I can just cut some certainly those over here. So I'm just going to keep it like this for now. 40. Mixing Celo : In this section, we're just going to work on ourselves. And now what I'm gonna do is I'm just gonna do a little bit of compression and probably an EQ if necessary, and probably a reverb or deleting, something like that. But a string instruments, you can do some reversed, you know, to make it sound nice. Yeah, so this is the output. I guess it's a little bit of compression. Funding to treasured off. Let's see, minus 20 d min vicissitudes. Yep. And, and I guess I'd assaults revamp with hot but ended up enough delete the 611 just window EVA, but it had been done. So the oxygen level up a little bit. Just bringing the level of achievability with dye would have mixing processes. Everything has to do with your ears. So, you know, there are some other things you can do yourself. And I'm just teaching you this so that you can do your own music video music and work on your own. I'm not expecting to do everything the same as I did. Yes. So I'm just a cleaning things to you and making the things very simple for you. As you grow in music production, you who understand certain things and you're going to learn a lot of tricks, you know. So our HE also to research and a lot of things and those things are going to help you in your music production carrier. 41. Mixing sweep : In this session, we are just moving three to the sweep. And I hope you guys know where we took it from, which we get from our group agents that it's an icebreaker in that it's it over here. So we're just going to listen to it and see you. There are some questions in terms of cooperation, no equalization if it's okay, just leave it like that. Yep. I think I'm just going to lead us feel like that. Just like it is. Probably I'm just going to bring the level up and down. I think its okay this way. 42. Mixing SYNTH 2 : For the scent of already treated it. So what I'm going to do is just listen today since section and probably a little bit of compression and EQ. It sounds okay, we leave it like that. Okay, so let's assume that this is the same. What I like to do here is probably a little bit of compression is sometimes is okay with Santa Fe. Remember, work would my ear. So I think I settled on attrition of negative 28.700 and the ratio of probably one is to one or something like that. And then their religious 500 milliseconds, I like it Galloway. And in my attack is also one, 1.00 and beauty sickness. So I think there are sort of to make undo icon also sy Chin day. There's nothing I can do. And also side-chain the scent itself to mine kick because that's why I left the second kick. So we'll have that in mind. What I'm gonna do is I'm just going to side chain this second kick over here. You can see that it is snare but an enormous, since it is a kick, it's a kick. So I decided to name it kick. And then what I have to do is I'm going to play the kick and also played a saint. So let us assume this as my symptom and Mockito at it. What I can do also, ok, so I love this saint. What I'm going to do is probably a little bit of reverb to it. Just a little bit of reverb. Not so much as a little bit of reverb on this channel. I am just going to take my short-term erasable. We're here. We are just using one incident of reversible over here. So now there is one cool thing about cubist as well. So in the next session, I'm just gonna show you how Gandhi side chain Men kick and my symptoms as well over here. 43. SIDECHAIN KICK & SYNTH : Now in this section we're just going to say CINAHL kick. And especially on the cross section. So what I'm going to do is I'm bringing, you know, cuz I've got a very cool feature over here where probably less. This is infographics of the sense that it's a graphic and analyzer. Now we can also bring into kick us in our second kick also over here, KYC to we can bring our two here so we can watch the two of them, two of the graphics simultaneously so we can check. And then it's going to help us in our society and decision as well. You can see that a kick of God, a lot of room. You see ended listened also displaying this section. You see. So the point is, the point is with this, you can decide if you want to sit in on nodes, but looking at what is happening over here, I think I'm just going to leave it just like it is because I want the two side chain the synth and kick this daughter kick on the loop. This is the real key could plate. If you follow the lesson from beginner, you can see that will plead our phase kick before bringing in the loop. Yes. So this is our original Kikwete played before bringing in the loop. Yes. And then we decided that, okay, we are going to play our original kick in addition to the loops kick only on the cross section. So this is why I'm comparing this to overheat. So I think I just don't want to get you confused. So looking at how things, how the thing is plane, I may leave it like that, but what I'm going to do is I'm just going to side chain the synth as in descent to the hard, equal it to the kick. So what I'm going to do is we are going Bach Street to the silicon kick. And this is our second kick. Overhead is a channel for us I can kick. So what I'm going to do now is to go straight on SHE a1. And other section you can see set-up side chain input. So the input is going to be our kick in, that is our set Kim kick, that is original, replayed. Remember that isn't our loop. This loop, this is what we are going for. You're going for the two. So your side chain into kick in this very simple at this section. Now, the way this works is deciding works is in a moment, let me just choose one of our output over here. And that is going to be archaic to suit or we can monitor the infographics as well. Is that yes. You can see the momenta kick comes in, the sth goals that it'll be down. So that's what's the side chain does. You can use a side chain on your bees and kick, you know, you can use it. I just want to explain things to use it or you guys know how things work. So let's play it as if it doesn't sound good, we have to do it all the way around. Let's listen in C. Okay, I think I don't really like the word sounding. What I'm going to do is I'm just gonna do it the other way around and aura around. Okay, so we'll start out our side chain and over here this activator side chain, and choose our sprint two as the input. So would any time descent place, the kick will go down a little bit. I think that is better because we've got a main kick planed loop. So let's look for this synth. I think we named it, your policy was founded. I think there's a sounded perfect. Yes. So we've got our synth over here and psi chain it in to our kick. So I think that sounds very well. Yes. So we're mixing you just have to be trying things and making sure that things work. 44. SIDECHAIN KICK & BASS : In this session really is going to work on the kick and our base. You could see that the kick, what we played is always blame when the betas playing. Because see, this is what we played. The basis here is a so plane at the base. So we are just going to also citing this particular kick in the base. We are not going to cite kinda kick from the from the loop Barada. Yes, I'm changing the kick we played with a base. So what we are going to use the same process we did two. Hardly call it to the synth. Yes. So we are going to do the same thing to our base, this type. Yes. So this is our base. We can just use our base group to do that also, as well as also you use the non-obvious channel as well. So I'll prefer using the, the base group for this one. So we just have two initiates, a compressor on it. I believe everybody I've got this very compressor. So let's look for obese something. I can really spruce it. Fred less bass street, BCE. I'm just going to fall constraint-based kinda think, yes. Let's listen to the bass and see how it sounds. So what I'm going to do now is to side chain this very base. So just click on this nope, to activate a sightseeing and just go on the input. So the input is going to be OK to say that anytime they kick to place, it has influence on day under Bayes as well. Yes, they can. I didn't play together, so I'm just taking the kick to searching for the base. So let's listen to it and see heresies. Just increasing the level of a base group. All right, so I related this sentence a little bit loud. I just have to bring it down a little bit. Yeah. Does the mixing process, the moment you go for the related as a problem somewhere, you come back and solve it, and then you move on again. 45. Conclussion for Cubase Masterclass lesson 4: On these notes will be emitted lesson now. Now our next session is going to be with the vocals. Now there's going to be focusing on this particular truck. And I know that you guys are going to enjoy it. So this angle is going to sink on it and create a song for it, for re beads. And I hope you guys enjoyed. So see you in the next session. In this session we're just going to mix the Volcker and then mix the book out with our whole song as well. And before we move to the mastering section piece and see you in the next lesson. 46. LESSON 5 Audio Import: Hello and welcome to the session manager airlines again from expert musically today we're just going to work on our vocals. Vocalise, re-define beats. If you follow the course, the B2B are being produced in from the onset. I've got a book haul, of course, will cause from an atlas. And what we're going to do is I'm going to import the vocals, as in the audio tracks into our projects. Stay tuned. Let's assume that you've got your audio files already from your vocalists or you're single wherever it is. And you want to bring it into the projects. So the very first thing you're going to do is to go on file and then go import your audio files over here. And a shoe selectivity fossil. Let's assume that I'm studying from the bottom. So let's see. This is my audio truck. Backing vocals for vacuum vocal S3 bucket, bucket because two and back into cos one. So let, let me just import the buck, buck invoke R1. Since I've already selected that, highlighted on that, I'm just going to import market book R1 into my project. So you just go on back and we'll call. They just go and open. You can also partition it here by playing it and listening to whole audio file if that is what we are going in for, you just elected and then, and then import it. So in my case I already know how it sounds, so I just have to import it directly. So you just go and open, make sure that this box is always checked. Copy Fatah projects folder so that all the files will be copied into your cubist predicts for the US in your song predictor. So you don't end up losing your audio tracks. If you don't do it this way, you may end up losing the audio tracks. So some Perrot convective or for one because you are working in 441. It is already in 441 so you wouldn't get option and then the bit rate, the bit depth or the bit-rate is also 24 bit. So I've already done that already, so we don't need that. Yes. And then just go on. Okay. And then you're good to go. So we go on. Okay, and an R file is imported, screw it into our project. So yes are to align it to the projects. So what I'm gonna do is I'm just going to align it this way. And then in my case, if I start from this one section over here, it is automatically aligned to everything. So that's how I exploited a file. So I studied from one, from the first marker to the end of the song. So you just have to figure out how you export it. You fall senior and you should be good to go. So this is my audio. My backend will cause I'm just going to repeat the same process to all the other instrument. Let's assume that we've got our full cause. Everything is important. So we would have to listen to it first and I'm going to tell you that we are going to fix every problem in this walker. So no matter how it sounds, just keep it like that. Then. I'm assuring you that that is a, that is what we are going to learn how to fix the Warhol. So every mistake in there, we're going to fit it ourself. And that is part of this whole lesson is, So please list. I would like to play just a short version of the Volkov for you guys to have a feel of it. After all, I'm just going to work on the Volcker. So let me just go ahead and play for you. The younger one. Comma c, may lead you well. And why would you go with the help for you? Wonder, well, you know, you know, the first large-scale school kids who had been machines that can no longer issue for rest. 47. 02 Folder Track: I just wanted you guys to have a feel of the music. And trust me, we're just going to work on the song and it's gonna sound better. Yep, yep. So the notes on the new tough Latin and all that, we are going to solve all those problems. And that is why you are doing this course. You know, is it's a living process. So we'd have to work around this and make sure that we fix everything in their medieval car sound. Very, very nice is we are going to create a folder for the forecasts. After quitting our vocal folder, we just move straight to our vocal group. And that group are Volcker, just like we did for the order instruments, Yes. So I'm just gonna create a folder truck over here, straight out very fast. And I'm just going to name this for that truck cervical folder. We'll call folder and then just go and enter. Now this is our food over here, moving in up here. I'm just going to add everything here. Just like we did very fast for you, 200 feet of it. I'm just going to write it this way. It's going to add it this way. Just moving it to the folder. And that's all we've got to have. We'll call Furda overhead. 48. 03 Vari Audio Setup: In this section, we are just going to treat our leaders will call fetched. And what we are going to do is SEWODA lead vocals and then go through it. Now we are going to work around the vocal and do our pitch correction with a picture curation tool and Cubase guarded the variability? Yes. So what we are going to do is just double-click on the lead vocal. That's believable. Crimea shot over here. I'm just going to double-click on the beautiful cause now they oughta routines you can also dig, also selects. And you've got pictures and the things you can add. Let's assume if this is a vocal, you can just use a microphone or something like that. I'm just showing you this is part of the things that key-based, but that wouldn't change the sound of your music anyway. So let's see, we are choosing this microphone going okay. Yeah, so we've chosen our microphone over here because going okay. So so I'll Mike, indicating that it is our lead vocal. So there are things you can use to identify our trucks in Q is so, But anyway, is not going to change your sound. Yes, sound is a sound, is I'm going to sing you sound anyway. So let's go straight to very od. So what you're going to do is you just double-click on the lead vocal. And then we should get our the Audio section over here. That is a load you edits B section. Yes. So to the next thing we are also going to do over here is just go and edit. You can see it over here if you can find it. If it's closed, eigenstate has gone very audio. There's a difference between an audio app and a very old you. Yes. So yes, gone very over here. And then make sure you click Edit, very Odeo. So you just go and edit. And you should get something like this on your screen. Analyzing the whole queue is analyzing your vocal and diagonally CDL rotation after an idealization initiated, Yes. This is our, we'll call it a split into into note. Yes. So this is Apple car, so we can work around a book out, do our picture directions, you know, seeing things around, move things, you know, do a lot of different. Now before we do this, we have to do one thing. I'd like you to save this lead vocal elsewhere so that when there is a mistake or something like that, we can quickly come back. Because to undo, we can use on do. But most of the times you can undo, undo, undo, and you end up on doing something nice. You understand what I mean? Yes. So what we are going to do is you're going to save a copy of this lead will call some way. The simplest way to do that is you hold on, hold outs and just make a copy. Click and drag. And places we'll call overhead. And they shifted somewhere. You can just shift, it's just this section. So with that particular worker, if we've got nothing on it, there is no very OD ordinates. You can see initials, but there's no very old you on this particular vehicle. So the woman would make any mistake. We can come back to that. So what I'm going to do some good, you do the same, repeat the same process for all the Volcker shock. So we just elect all over here and you hold on old alternative and a big copy and paste it over here. So let me just repeat the same process. You are doing the same for all the vocals. So you just select all the vocals over here. And it hold on alternative and just make a copy of the VUCA or you can do Control D also and make a copy of the Volcker, or the fastest way to do that also, you can just click on the word afforded truck and that hold Alt and drag it and place it over here and you have your files away. So that's one benefit of the FOLDOC truck. You can move things around and do so many cool things you did. So let's say we've got our copy over here. Let's move straight into the very old you and edit lead forecasts. 49. 04 Creating Group (Bus): In this section, I'm just going to create group trucks for the vocals. Now let's start with the lead vocal. So I'm just going to go on and just go on abstract. And then you look kid's group. Now in this group here, that's going to make sure that the configuration is on stereo. Audio output is also wants to u. And then we create a group outside the folder and then just named lead vocal, the Volker. Okay. So this is our lead vocal group outgroup to Richard are you can see the difference. So you just go on our lead vocal group and then we are getting into outside a folder. So we have it over here just beneath our lead vocal mic. I use that for two mission and use it also for a lot of different cool things. Okay, so let's move straight to the backing vocals for the buck and full calls are Yes. So just shifts and then selling the last one and then just go and art. Right-click as right-click and go on a truck and gone group truck, and then name it as our backing vocals. Can you recall? Yes. And then just go and attract. Now you can see that we have an overhead, but it's relatively, it's, I just want to show you another way or fraud in their groups. So we come with the first one, the bucket book R1. And then you look at this section that is output. Make sure you select group over here. And there we go straight to our backing vocals group. That is the very last one. Just select that. You, you do the same for the Volcker three. Let me move the two up here. So you do the same for level CO2, backing vocals to we just go here. You make sure you selected. You go to the output section and then send it straight to the bucket will call group. There is another way also under federal, i'm going to show you another way. You can just go on the edit button and just go here. You've got a stereo out over here, like we did for the other trucks. And they just locate your groups overhead. And we are going to choose back in vocal group. So that is another way of selecting your groups. And we're going to do the same for the fourth bucket full calls. So you can either go this way or you go the other way around? Yes. Yes. So that is what we are doing for the Volkov. So let's move to day to the next section. 50. 05 Pitch correction with Vari Audio : Hello and welcome once again. In this section we're just going to work on our bow cos, and we have started with the lifo cost. Now this is very new in your shorts and this is how it looks like. Ido. Yes. So we are just going to solo the vocal and listen to return corridor pictures over here, there or something or like you guys to, let's assume that this is your audio. There's going back. You see that if good option of definition or doo-wop and barriers to if you submit them, Mario do like this. And let's assume that you've already activity invariant you over here. Now there's one thing I'd like you to also watch, that is the smart control or like you guys to set it to show or smart controls. Yeah. So what it's gonna do is it's going to help us with new or functions in key ways like this dy one knobs and we can use it for so many cool things in our edit. Now remember this course is a beginners course, so I'm not gonna cover everything on very old you. There's another function in variability we can also implement on our vocals. Now you, what you are going to do is select all the vocals and then you could see those containerization pitch. And then there was a street and Kip normally isn't 0. What I did was let me just demonstrate it so you guys will feel over it. You, you select everything and was deeply, you can just quantize the pitch us and amount of quantisation you want to impose on the Volcker. So let, let, let's listen to heart sounds. You can see at the moment are moving. You can see that the wave is moving a little bit. You can see the changes in the movements. Yes. That is the quantization of the pitch. Yes. So it is quantizing the pitch us in making sure that it falls on the grid. Let me put it that way. I choose. I go to street port at 42 because I can be repeating the process all the way over. And then the shooting of the cab also, you can see that the Muji gone strict attention, but the moment you do do it this way is going to sound like good teaching cannot thing. So you just listen to these non-natural, you're so mixture of a district number care if you just do it, just a little bit of it. And whilst you do it, or to try and listen to it with a song and figure out if, if it sounds nice, you'd keep it like that. But if it doesn't sound nice for you, you can just work on but mind you that it can also work on individual our trucks, our city can you can do this pitch correction, does what? Wave if activated. The smart controls as well, to enable us to do these things very, very quickly. Yes. So let me just play it again for you guys to harbor. Notice another thing here we can also do this shift formats is like it shifts the whole pitch. Is like should the purchase. So you can just listen to it and see how it is. So you can just explore with, with some of the functions in very old you and as a beginner, just try things on your own. I'm just showing either way, but I'm not expecting to do things like that. We aren't doing things. You know, everybody is unique. And I believe that you can do so many cool things with worried you. Now there's another thing also I would like you to guys to go. So let's see, after we've selected everything done this minor pitch correction, we can do a major one just by correcting dead that Newt individually. So let's see, let's see from this node, you can move this up and down. You know, let's listen to it. I guess this is very off. You can bring it die, you can move it down. You have the option to move up and down. Individual nodes up and down. Yes. And you have the option also to work on individually with curves. So let's see what the diamond best DYAMAND you can just bring it is just like a kind of selection to a recent elections or something like that. Yes. So we are selecting the three from the left to the right. We can also work from day, from this point to this point. That means everything after this point is not affected when you start working from this point, dummies written after this point is also neutral for Africa. I hope I'm making sense and in this tutorial, Yes. So just like I said, you can work on this very small wave over here. You can see that this line is where the diamond is. And you can see that the moment I bring this with curved bow, referred only the small portion. This portion students how to use a variable. You can use this for so many cool things are going to be just addition. There is another option also for the barrier. You can move things around, cuts a section of the we've seen that particular side you want to work on and keep changing and loot. So what I'm going to do is I'm going to work on the vocab behind the scenes because very early it takes a lot of time. I'm just going to work on it behind the scene and then come back and also give you a general overview for that date. To the Volcker, I think the main lead for car, this is my lead vocal. So you could see over here, I would have to move straight from this little book How to embark in, we'll call one. Now this is what I'm going to work on. First, I like to listen to the backend book R1, as it normally would I like to do is I like to listen to everything and the whole walk house with the backups. And then after all, I make my decision on which tried to tackle first. So I'm just gonna do that very, very quick. And we credit our groups shock for our buck and vocal, which is this very truck. The moment you solo it, we've got our backend trucks working perfectly. So what I'm gonna do is I'm just gonna play my bucket truck and have a listen to it. Now I'm just going to also enable the lead vocal to guide us, make our decisions, you know? So let's just listen together, just a piece of it from the very first portion. Please just listen together. You could see something great. So as you can here, there are different type of Edo backups. You know, some from Enola things as well. And the doubling going on time there is a little bit of harmony as well. But what we're going to do, we're just going to treat them very simple as a beginner level costs. I'm just going to work on it and then show you how to put things together. 51. 06 Lead Vocal reverb and fx send: In this section, we are just going to create our Effects truck that is reverb and delay also for this particular vocal, that delay and reverb is dedicated only for novel cost. So take that into consideration. So I'm just gonna quit beneath the workhouse so that you guys can seats. And that we are going to do so many cool things with our delete an arguable way. So I'm just going to add an Fx truck and a name. It probably rewrite. I like reverence. I think everybody I've got it. We are creating it outside folder, so we hovered over here just like we have delete varchar group overhead to name it for Carl called reverb and yes, yes, part it over here. So this is the reverb. This is rearranged. I'm just going to leave it here. Let's close it. 52. 07 Midi and Audio Automation: In this section, we're just going to lend automation. Now from this section of the shallow, shallow stuff from this section and from the second eight bars are saying, I don't like, I would like the cello to come down a little bit, doesn't the level of the cello to come down a bit. So let's say when the cello stuff blamed for PMS go. So from this section, I would like a cello to come down a little bit. Now what we are going to do is to run an automation over here. So to run automation, you just click on right. Make sure you select the channel, the channel in which you want to. You can see right automation. So you just click on right over here. And while the song is playing, you can change the level of the cello. Or we get 1, you're going to change the level of the cello. So let's go, let's stop playing and then just bring the level here using this particular volume up over here. So let's go OK. You can see that I've got a volume. Cannot think over here. Down here. Notice though to mission I did. The automation ideas did. So we are just going to select everything and dielectric for now. And what I'm going to suggest this year's going to pencil to make sure I click this section. And then also we are going to click this section, the lambda point. You see this very diamond over here. You're going to bring uses diamond and bring it down like this. So in actress things, when you play this shallow, from here, from here, the level will be sounded higher, but when you get to this side is going to drop. So let's listen to it. You see? So we can also use the same principle we are going to use over here to just write an automation for the cello. So it comes down a little bit, especially when the song is coming in. So what am I going to do is, I don't like it to be very sharp like that. Are likely to feed, feed into, feed out into their, into their lowest section. So you just click this side again or you can move it, sorry. Make sure you click here. Let's delete this one. You can just delete by selecting it and then holding on the delete key on, clicking on the Delete key on a keyboard. So I'm just going to finish this one here like this. So I have a smooth, a very smooth transition between the high end and low end. And good to do the same thing over here as well. So for this section, I'm just going to leave Ely law because it is plain form from the very last point t 0. So I don't need that one. So I'm just going to leave it that is so you can see the transition from here. So this is how you run your automation in Cubase? Yes. So there's a media automation we just run. We can also run with the machine, with our panning. You can just go here, you can choose the mutes, you can run it on mute on the st, on the media you can do to mission on so many different ways. There are more options over here as well. But as of now we are run not the mission on the volume. So we can let our run automation on the part if we wish to do that. So I'm just showing you what you can do with automation. Yes, so this is the mission we are running over here. Now we can also run on automation on our lead vocal. So let's assume that the lead vocal is playing from here. So let's assume that probably we would like to run an automation from the beginning of a song. So we have a smooth fading Catherine. So the same process, you just go on, right? And then the Monday song stop playing, you start moving that nops. We can also run automation on our lead vocal group. Here is also the same team that did Volker is just one truck. So let's run it on this so that you guys have a feel of it. We can also run, run using automation on our lead vocal group. On the reverb, on the delay is also possible. So let us see that we want to get a smooth transition from the quiet side to wettable cop comes in. So we just run on automation here by just going on right. Click on rights first played and use a volume knob to control us and where you want it to be loud way wanted to be, to be, to be head or high way wanted to be low, high. You have to just control it with a volume knob over here. So let's go. Okay. There is automation just for the lead vocal. You can see that it is Binet that gave Volker. And you can see the chain over here. This is an integral curve and this condition is affecting this very one because it is under this lead Volcker. I hope it mixes. Okay. So let's see. Is this what agency I don't like this automation. I did hear. We just select everything. Here. The dots, the squares. I automation can just deletes, selected everything and collected, and then plot your automation like this. And this plot it and see, okay, from here are like you. Sorry. From here to here, or like this particular channel to be very quiet. So that means from this section is very quiet. You're now going to hear any kind of noise or whatever. If you don't cut the section, you can also cut it. You can also cut to the side. Can cut it's like this. Industrial instruction are we is also possible. So we move our varchar like that from way slot. Now we can run our automation like this and say, okay, we want a very smooth transition from here to here. Like this. But this is just for the lethal car. There are a lot of cool things you can do. You can just change the shape of the curve so he doesn't look too smooth. You see, you just have to hold on this round thing over here. And you can change the shape of it. So the transition becomes very version with it can move this here around with things. You know, you can just play around with this. So let's listen to heart cells. If you want to hear that automation together with the lever, car or truck or whatever you're doing. You just have to go on 3D. First, you write a automation. And after we've written those Domitian over here, we have to read the automation if we want the automation to affect the lead vocal. So we have to go on read automation. If it's on read and write is perfect. But remember that whatever you do to the level, whenever is going right is going to affect it. It is good to write their new automation. So the best ways if you finish writing your Domitian, you just put a W for the right to the mission of it. Yes, it leave the r on. The r is just to read what you've already written. I hope it makes sense. Okay. So you see this very see over here the C, we can say that, okay, you want to treat this section by Ryan and automation over here, just a very small section. And with this diamond will just bring the level down a little bit so that I see comes down. When it gets dissecting, it drops a little bit. So this is automate. You can see if you took from the mixer section. You can see that when it gets this automation that we activate the mixer here, if you can't see them, it's, I just go to this section indicated here. The moment it gets to this section where we written the automation, you can see that this channel is going to move. The lead vocal will be moving this. Keep your eye on this particular feeder. Let me play it from starts so that you can have a feel of it. Let's start one PAC. You just went down is to keep an eye on it. So it will move up and down according to where you want it to work. So if you see people doing this, this is automation. It is automation. 53. 08 Delay fx Automation: The next thing we are going to do is to run automation with our delay. So this my book, our delay. So let's assume that if I want, the delay should be very high at that point. You could hear it in so many music. Let me just play for you guys to have IT feed off. It does vary section. I want to repeat the very word, the present set over here. I'm just gonna do the single said. I'm just going to brought them out to mention over here. Between here, just be watching the wave. This is your wave, this Apple car wave, and this is our varchar delay truck. So we'll be watching here from here. So from this point, Let's say from this point, what I'm going to do is just hold this section up to here. And with the DYAMAND desk increase a deliverable. So when it gets to this section, they delay, we increase with tomatoes here in it because I don't have a lot of delay on this divorce or I'm going to do is I'm going to increase the delay for demonstration sick. Yeah. So the moment you stop playing, you can see that the vocal delay will increase from this section. 54. 09 Mixing Lead vocal with EQ, Compressor and Deesser: That's possible working on the lead vocal, you can see that there's a lead vocal group, but it's applied a fit. We did first. What we did first was equalization. We selected a spritz it and that is a simple lead works. You can see that we've cut some loose over here. Or this low frequencies are out socially from the 25 key. It's like a 100 kinda column. We've cut some frequencies over here, and this is going to allow our lead vocal slime out. Then also in the compression section, we choose Lamar compressor. I just wanted you to get used to one compressor, the nafta, you move to a different compressors. So that's why I'm using this for the whole course. Because I believe is a beginners course kinda. When you get used to one compressor, you can understand how it works and then you move to the other one. So I chose a lead for Carl in, in your face, pressured and you can see I'm doing a threshold of minus 29.6 dB. And you can just watch my set into over here for the first time. And I brought a little bit of dry mix. I hope you understand the dynamics from the previous lesson. The dry mixes, the role for cows. I brought it grow a little bit of the RO will cost into the compressed Volker. So we have the natural kinda feel over the 11 dots is going to sound like it's all compressed. Yeah, I want you guys to have a feel of what each effects or each VSD instrument is doing in this chain. So the first and I started was with my equalizers and this is a row we'll call, just listen to it. Okay? And then I brought the equalization into which I can write the first pressurization is, sees some downgrade on me. You can see that the low ends doesn't belong and end at the bes comma theme is out of the blue cardinals would have Bulgakov slime molds and cut through the mixed. So I did a compression over here and let's have a feel of how code is C. Some downgrade on me. So I'm just doing a little bit of compression in here. And then unless plug-in and or chain is a DSR, as I explained, the DSR keeps the SSI out of that song. So let's either, there are a lot of S's in it. You have the ability to choose a range that most SSS between the five key and attain key from this section or a little bit down before the five key decision, that's where you get more of the S sound is more of the higher frequency you get it into half again. So to tame those notes down, or those frequencies down, that's why I applied a DSI into it. So you can see that what are they? Listen to the voice without a DSR. Put it. Sees some TIM gray on me use a different salt now. You deal with it all on its own. Now, few Mamie goes from no, put it out. I can draw the man, are we? Yeah, so it's taking a little bit of the SS out. For as a beginner, maybe you wouldn't be hearing it or, you know, understand why things are like that. But I just want to show you the chain. You do an eQTL compressor, you can do it DSR swell. So when the tunnel strip of guarded against what the gate does is it's just like a normal gates, just assumed that you've gotta get in your house the moment ago car comes in, it opens the kids for the Volker. When the vocalist silent, it goes out. As a beginner, some of the things you didn't understand, but as time goes on, you understand I'm seeing that always work with your ear is the best way to work with your ears. And the moment is sound good in your ears in the think it's good as preferred, thus it, that's how everybody's going to hear it. So from the compressed, I did my last localization. And that is this EQ over here is a semi q here. Yes. So I think this was done from the onset. If you see that I just I went to the precess section and then loaded appreciates called mid Fox female. And then I tricked it a little bit. Yes, I'm also cotton some loose. We cut our first lose over here. Sometimes some of the compressors and order VST instruments can bring into frequency that is not needed. So would it last plug-in in your chain can be an EQ. And in the mixing process, as I always say, is this EQ and compression. And now we've got our reviewer for the lead vocal. And that is, it's over here. We learnt how to configure FX sent, and we're using it as a sum Fx end over here. So this is the lead vocal revamp overhead? Yes. And if you go to the lead vocal revamp, you can see that the Harvard overhear just spin into vocal so you guys can have a look at is the reverb. And realizing that at three seconds here, the same reverb we used for the US to maintain the snare and all that. But in this sense, we have a different channel for this particular Volcker revamp so we can have control, right? Yes. So that's what I'm doing over here. And if you go to the Chandler was a workout goop, I've got it here. So two, negative 17.4. So that is the, the level of the lead vocal revamp. Sorry. So let me just play. So you listened to Harvard sounds some degree. Now, there's an additional delay also over here. And this delete dedicated own D4, the Volcker Isabel card delayed. So you see that I chose a stereo delay. Houses in the multitask delayed before, but I'm not using it. What is active is a stereo delay. So in this demo delay, what I did was I just went to the long vocal line and that is what I chose. You could, you can replicate my settings over here is a dry mix and that nowhere it's mixed signal. I'm dean, like 46.3% of the whole signal. What you can also do is you can push everything up to like a 100 and then you control the delay dry signal. Yes. So in this case, I just couldn't believe it too. Like 42 goes AS what I did contract with an OPS over here to Harvard feel of how things work? Yes. So this is a beginning to address, just get everything simple and we understand how this thing to work. Whilst we get into the advanced section, I'm going to do a different advanced course where we are going to be bringing in different, different plugins in, swarmed plug-ins to get you the pro sound chromosome looking for. Yes. So in a nutshell, this is the delay. I chose that as my setup. You can watch it and also replicate it and play around the fingers and then see how things Saudi, oops, I can feel happy which you disciple low of someday knew he would leave Aramco which you forever, which you. Okay. So I think I like the way the delays working over here for now, we'll be dealing with Domitian also to the lead vocal. And you're going to understand why we created a delay on a different truck. So we have controller, right? Yes. So this is my full-color chain. Sorry, there is an EQ compression DSA, and I've, I came back to the channel strip. And then our plight of noise gates compression. And my last chain is equalization. Over here, there's the EQ. And then I sent it to the revamp, the whole car revamp, and they send it also to the Volcker delay and to the lead for Carl revisit. So this is what I did over here so you can replicate my sentence. And then, and then this is the EQ setup. And then this is the compression set top box below. And this is the DSR set-top box. Well, we could see two y. Ok, so let's move straight to the back-end with cars and just blend them together with a lead for car. 55. Lesson 6 Mixing summary: Hello and welcome to lesson six. In this lesson, I'm just going to summarize everything I've done on the mixin section. As I told you in the previous lesson, that I was going to work on the book House and back-ups everything, and also owned automations and everything behind the scenes and presented to you guys. Okay. So that's what I've done over here. Now. I'm just going to start from top or like us to go through the whole song so that you guys can have a listen to it. And then after then, I'm just going to explain everything I've done. Okay. So let's go. 56. 02 Cubase Master class Project song: I don't want that an active audience. Live animals. And we're actually tracking. But now we are asked to our counters. I came to work in China after the improvement process. Oh, I forgot. 57. 04 Telephoneline effect summary mix: In this section, I did a phone line cannot effect for the bucket full car where you can hear that when ever they lead for car, please. There is some kind of an ellipse or something like that. Ada background would a phone line? Yes. So that's what I did. The greenest section, you can see the o in green. I place them in green soda. You guys can see the difference. Yes. So let me just bleed today, you hear how it sounds. So that was how come I got this listing. So I'm just going to explain to us and how I did it. So you just go on I just did it on a truck. You go on the edit button on the truck and then make sure that your Equalizer section is highlighted in this GO under load preset. And you should get a phone line over here. So yes, select this precipitous phone line in the DSO in livid like that. And in this section I just wanted to delay. I wanted it to fill the space to sound very big. Yes. So I pushed a delay very, very high, and also the reverb close to the sea, like the middle of Alaska around negative 10.7 db. So that is how come I got the sound like that? Let me just put the delays of the reverb off so that you can hear how the difference over here. I'm just putting our just plays it on, just listen to the different also from this section. You see, so it's crates like a Canar, biggest piece for the, for the whole music gets it's mixing the song very big, this little thing. So you can be doing those things in your music and is going to make it sound very, very nice. Yes, so that's what I did for this particular eclipse section or the backend, I named it back in phone. Line ethics are Addis project file to the course so you can download it and go through it and see how I did most of the things. So let's move straight to the next section. 58. 05 Reference and Balancing: Balancing the whole music is very important, so you always have to make sure that you balance the music for it to sound. Well. You always have to use a reference materials on times is good. Reference material means that you have to take a song that is close to your song, VLSI, a song from a different atlas that is close to the song via domain walls. You listen to that song. You try to mix. You understand you mix to fit, ought to meet that particular song to Harvard as your reference or your reference, the US an example or something like that. So anytime you want to do something, listen to the wisdom it mixing it. He had a reverbs and delays how it sounded. And just like I showed you, define domain tos, you can just achieve everything to this. In the subsequent lesson from my mixing and mastering for protein advance students. That one I'm using different VST plugins, you know, be sticking to cube is alone because if you want to achieve greater height, you really have to get different logins to use different plug-ins to get that result? Yes. So the mixing process is all about balancing, equalization, compression and also some time ds in an imaging and all that. Yes, so this is how I did the whole mix and that is why that makes a sound in this way. Yeah, does it begin as costs? So the prose, watching this, don't judge me. I guess they are very simple for the beginners. Yes. So let's move straight to the monster insects sing. 59. 06 Drum roll mix summary: On the drone roots sectionals, I played r1, r2. And then I added a little bit of short reverb on it. So I just added some on the ground rule. I didn't do anything special to the drum. And then I sent it to the drum group, as you can see over here. So I did that grammar rule, added a real-world reverb to it and then send it to the drum group. So the drunk is already mix. There is a compressor already on it, so I don't have to do anything hard. End. It sounded okay for the purpose of this lesson is sounded very okay. So I just left it like that. So that's what I did for the dram row. You can see that there is a shorter reverb on the drum roll? Yes, just for it to fit in the mix. You know, it's very, very important. So reverb and delays are very good for your songs, for if you want to match a particular instrument or if you want to match instruments into the mix, you know, the use of reverb and delays are very, very important in this section. Yes, so that's what I did for the drum roll. 60. 03 Mixing summary 1: Now in this section, I'm just going to summarize everything I did in the big fountain from the cello. Cello introduces the music. So you can see that from this section, this is the felonious shots over here. This particular one is a cello. You can see that up runner with the mission over here. From this point to this point, the cello is a little bit louder. Then from this point to this point, and bringing it down because the book house is coming in on this section, you can see that a full Carl Here comes in from the section. So I'm bringing the cello down over here. So that's why I did the automation this way. So you just have a listen to it. You can feel that the moment the Volcker comes in, the cello goes down. So that is the whole concept of this mission are the cello section I've showed you already how to run a television, so I believe you already know how to do it. Okay, so let's move straight to the next instrument. Now we've got our sheep also overhear. And actually RCP, the very first in that introduces the music. What I did was just to add a little bit of a shot. We're one it you've got a sharp shot. We vet you know how to assign it already. So if you if you don't know how to do, you just go and de, add effects and then you do a short reverb. I think we did it in the beginning, so you just select the reverb and when I push it up to negative 7.77 dB. So that's what I did to the sweep. So I just added a little bit of reverb to the street to give it up kinda to fill the space because it sounded very dry. So if, if your music sounds DRY, sometimes revamp, gives it a little bit of space. It creates host piece for the whole song or the beat. Yes, so that's what I did on this trip. So you can feel the renewable way without a revamp. Do you see that there is no space there? Okay. The space is just like the it's like you being in an empty room, speaking or singing in an empty room, in a church or something like that, or probably in your bathroom. You can see that if the room is empty, you can hear some air cools and and let me put it that way so you understand you can yes, I'm a coups and all that intersection. So that's what I'm that's what I mean by creating some room for the, for the sweep. So that's what I did for this fief. And let's move straight to the nest instrument. At a lead vocals section, I run automation. You can see the overhead. I run the automation on the lead vocal group, but not on the lead for car truck. Is that group truck? Hope you guys understand. Mc. Yes. So that I get when I want to push the whole liberal car down a little bit, I can do it without affecting my automation to that was the main reason why I did that. So the lead vocal group is where we run out to Michigan where some of but I little bit loud so I had to bring them down. So he said is a normal volume automation Iran for the lead vocal. So that is what I did for the lead vocal. And also on the lead vocal, there is a wildcard delay to solid. At this section, you can see that you can hear that the vocal will repeat two times or more, more Adobe a double delay cannot thin. The vocal will repeat itself, especially at the empty, empty place. So I did. And what the mission of the delay for this particular Walker. So let's have a listen to it. So you can see that the moment the empty space comes from here, the delay will go up. And at the moment, you get to the section also the delay also grew up. You know, you can see from the wave of the lead vocal, there is nothing here. So the delays just filling this space. So that's why sounds like this. So I hope you guys understand what I mean by that. Annoy. You guys do automation, so I don't have to really waste a lot of time on it. Remember this course is just for beginners, so we just want to tackle things in a very simple way. Later I'm going to do a cost study. We'll dive into mixing and mastering that is far advanced. And for pro, Cubists are appropriate uses. 61. 07 How to render your project to wave: If you want to render, you go and file and then just go on exports and audio mixed l initiators until like this on your screen. So you can name your projects over here and then show the Directory. File party can seed file, new file path in the review, you know, so these two things are the most important things. You name your file and then also you, you name the file path as in where the file should be saved. So after you've done that, you make sure that this section is checked. The stereo L and R shunt does a left and right channel. If you select Mono mix now, your sound is going to sound mono Dallas is going to play only one speaker. Yes, or in the central and put it down here. So you have to always make sure a day left and right channel is ticked. And then if you want to export mp3 wav, In my case I won't wave. So choose waive. The sample rate is 44101 bit rated. Assisting that, yes. So if you want to export it and do your mastering somewhere else, or you want to send it to a mastering engineer to do the marketing for IQ also do that by doing a dissuade, just hitting and exports and your file will be exploited for mastering. 62. 09 How to render your project to wave ( Trackout ): Now, if you want to render multiple outputs, let's assume that you want to get a truck out of it. You just go on multiple and make sure that you select all the instrument Dubai, hey, select everything. Our, the channels here that the simplest, we make sure every channel he is elected and we've already rotated so you don't have to do any hard work. You just select all the tunnels, make sure it tick, tick them this way. Select everything. Just electric mortar is very, very important. So you get all the trucks lined up just like in the project? Yes. And then you make sure that the left and right channel is elected. You select your wave and then the bit rich system bit is ok. And then just go on exports, the adoptions as well. So you can go to the options and try to solve. 63. MASTERING IN CUBASE: Let's move straight to the monitoring section. Now in our string, we are going to do a machine in our projects, wouldn't go in, out of the project. So that this is the best way to do it. Because if you are doing the machine yourself and you do it in the project, when there is a problem with a kick alone, you can work on it, can figure out the problem with the kick and solve it. Rather than disturbing the whole file. If you've already exported its, it'll have full control over the mix. But if it's in the project and you're doing the mastering in the projects, then you have full control over individual instruments. You can see we have our mix Arya. We can do changes at any time if you feel something isn't all right, we can just correct it and we still have our machine going and we love to exports and come back and go back and forth. You know, you don't do that. Okay, so what you are going to do first is you go into Edit button over here. We are going to do that on the stereo out. That is what we are going to do our machine. So you just hit on the edit button and it should get channel Edit over here. Now, the very first thing we are going to use is our multiband compressor. Yes, this is our multiband compressor is what we are going to apply to the music. So let's listen to the music without anything. And then we come back to using the compressor. So here we have a husky without a compressor, with a compressor. And then with a compressor, which is a multiband compressor. That means it has got all the bonds, the four bonds that the lower frequency and the low and mid, the mid frequency and then also the height IDO, the higher frequencies from like the Ten case today to indicate to indicate o heads. Yes. So you can treat individual are banned. This replica my settings over here. Yes. Watch it and then you can dial it straight into your project. Are we leaving the project file as well so you can download it and also go through it. Yes. So the first thing an arching, is the rock master to and remember the mastering is where you're going to get heaviness of the sound. You know, you're going to get the sound to the foo, foo volume or legacy to the full level where 2D indie clipping in Asura went to play someone songs and deplete ozone. It sounds the same as in the level, some of the same, you know. So the question is where we are going to do all those things? Yes. So our next thing on our chain is going to be the multiband expander. Yes. I chose a multiband expanded yet because we are expanding in some frequencies over here. So the sound, well in this studio mix us in disowned well, when you are using a headphone or stereo kinda section is, so is a multiband. So you can expand the, the B's and low frequencies because you expand the low and mid, the mid frequency and the height as well. So you can choose your frequency range where you want to expand US in, where you want it to spread less is spread them. Use our spread for beginners to understand what I'm saying. Yes. So let's listen to how it sounds with a multiband, sorry, with other Morrissey bond expander and with it. So let's go. And I think you guys can feel the difference that the moment the expander comes in, you know, it's expanse there. The whole stereo field of their music into spans the music it mix it white in your ES. So just, just, you can repeat the video and then just listen to it. Okay, so the next thing you're going to do over here, these two are the exterior expand diets of Osteria. Enhance LM polluted our yes, it's a stereo enhancer. So what has to be an answer does is it also spreads the music. Spreads the music resistivity enhancer deserve our TED VST we're going to use over here the theory and unsigned. Its first, the music with this knob does their width. So you can spread the music on 14x seven and put it at a 100. So now you guys can feel the difference. Okay, so let's go. That's very different. So I think you noticed the difference in the sun. So I chose this reset, a dance master. And that is what we choose for this steel you enhancer. Yes. So let's see. A sweet spot is around 147 due next Monday so much because the moment you expand it too much, a song Lose, loses a point. You know, the whole heaviness of the song gets missing as well. So make sure you don't expend so much. So let's move straight to the next section. So the next plugin and arching is the maximizer. And if you open the maximizer, you're just going to turn it on a wire. And you can see that in the soprano using any preset over, Hey. He opened it a first-time default. Just dial this, opt out foot to negative 0.7. the reason why I'm doing that is I don't want it to clip. Clipping means you can see that the red, the red line will come when you play the music, you know, colonial music too loud, just on red light to get into direct, y'know, y'know, going for that. And you see red cannot thinner by over d 0 makeover doesn't go into for making sure that our mustering and everything is sit in between this section, this 0 here and this 50 section over here. Clipping means as in the distorted limit booted out, you see that the moment you push it too loud, your musical start distorting. So lemme put it out. Yes, so such output to negative 0.7. so that it's a little bit down. I just want to make things very, very simple over here. Yes. So this mixture, this soft clip is always own, put it on is going to help you a lot in the mastering process. Okay, so let's listen to the music with the maximizer. Now let's play the music without a limiter and Dilemma introduce delimiter aswell. With the limited section, I include him in noticing the difference, but I can feel the difference myself. And I did something very small y. Now we are going to choose this presets, that it a push, it loud, louder, sorry, push it louder. Preset mixture ego would my setting. You can see that the output section, I'm Dean of negative 4.2. Now the reason why I'm doing that, I don't want the song to clip. Let me just push it up so you guys can hear how it sounds. The lemmatized always the last thing on the mastering chain. The point is we are not clipping AS well. We're not clipping in this very negative one. So if you want, you can push it up a little bit or you can come down a little bit. It was all the time. I like to be around negative 1.1, sorry. Yeah, so this star like to just bring it down a little bit to like negative 1.9 so we don't clip in where we go. So those are mastering chain for this course. And our played a song without a mastering chain and also played with it. Yeah, so let's have a listen to it. Imagine you want to know that as much as anything else. 64. 64 Congratulations: Congratulations. You just went is a course in a very, very happy you did.