Producing Music with Reason - Section 3 - Mixing Music | Edouard RENY | Skillshare

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Producing Music with Reason - Section 3 - Mixing Music

teacher avatar Edouard RENY, Music Producer & Tutor in Physics

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

Lessons in This Class

    • 1.

      Mixing Music: Introduction and Class Content


    • 2.

      Mixing Music: The Fundamentals


    • 3.

      Preparing the mixing session


    • 4.

      Spectral mixing and side chain compression


    • 5.

      Finalizing the mix


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About This Class

In Section 1, you learned the basics of Reason. In section 2, we created a music track together. In this class, section 3, we will heighten your mini track to another level: We will mix it in order to really make it punch!

Video 1: Mixing music: the fundamentals

Mixing is a crucial step when it comes to making a music track sound professional. Do not count too much on the mastering which is just the final polishing: your track should sound already amazing before the mastering phase! This video presents a step by step technique to mix your music. You will also learn fundamental theoretical concepts that will allow you to make wise choices when carrying out the three mixing processes (Volume, Pan and Frequency). This video ends with golden tips!
Level: Intermediate level user.


Video 2: Preparing the mixing session

In this video we will clean up and organise our little music track in order to prepare it for the mixing phase. On the fly, we will carry out a few sonic adjustments  to make sure we are satisfied with the individual sounds (EQuing, Reverbing, sonic sculpting). This episode will demonstrate how you can do these adjustments easily in Reason.
Level: Intermediate level user.


Video 3: Spectral mixing and side chain compression

This episode focuses on a special mixing technique that can be referred as frequency selective side chain compression (FSSCC). The first section of the video is a presentation showing the details of spectral mixing, and the problems due to frequency overlapping between instruments which can occur during that process. You will learn how side chain compression (SSC) can be a great tool to solve this issue. However, this can be at the cost of the timber of your sounds. This is when frequency selective side chain compression enters the game. After a demonstration on an electro track of what SSC can do for you in terms of being creative with electronic music, we will learn how to set up FSSCC in Reason and apply it to our music composition.
Level: Intermediate and Advanced.




Video 4: Finalizing the mix

In this video, we will go through the various adjustments I carried out in Studio on our little music: spectral mixing the piano and the pad, light compression applied on the kick, final volume and pan mix, inserting some EQ on the master bus and applying some general reverb on most of the tracks and finally applying light compression on the master bus using the mixers compressor. This video concludes this section by exporting our little music track.
Level: Beginners and intermediate level user.

Meet Your Teacher

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Edouard RENY

Music Producer & Tutor in Physics


Edouard Andre Reny was born in 1971 in Bordeaux, France. Long studies in sciences armed him a PhD in solid state chemistry which led him to a post doctorate contract at Hiroshima University, Japan. In his early thirties, he integrated a large water treatment corporation in The Netherlands as a senior researcher. A decade later, he decided to fly with his own wings by founding his own company, “Synaptic Machines”, that brought together his interests in sciences, his drive to share it with the world, and his passion and talent for music. Why not make a living with what one truly loves!

This coincided with the realisation that he was a damn good teacher. To support financially his bran new company, he started tutoring a few kids in their late teens to prepare for their I... See full profile

Level: Intermediate

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1. Mixing Music: Introduction and Class Content: It. Now we have a music track, should be easy from now. What makes it a little? Make it sound good, and then publish it. So you guys know, not that easy. And that's why I'm making this video. I made an attempt to mix our little music. Here is how it sounded before the mix. Here is how it sounds now, Quite a difference, right? We are going to learn how to transform a poorly sounding music track into something that is much more pleasing for the ears. This video, we'll talk about music mixing theory. Really the basics, you know, as a starting point for your own exploration. The next video will be a detailed look at taking care of the low-end frequencies. This can make all the difference between a crap track and a great track. How do you get the punch and avoid the mud? In the last video of this section, we will go through the reason file and see what else I modified to obtain the mixed version of our little music. Mixing music is an art in itself that can be quiet years of study before reaching mastery. They are schools specialized in this, actually in the music business, the best audio engineers are real stars. They match sought for by the most successful musicians out there. In a ten or 15 minute video, it may be arrogant for me to pretend I will make a master mix out of you. Even a full course would not be enough. However, the first learning step brings a lot of rewards. Watch this presentation. Take notes. What I'm about to share with you. 2. Mixing Music: The Fundamentals: What is mixing? Mixing consists in blending all the instruments playing in the music piece onto two drags, left and right. Sounds easy, right? Not so fast. There are three main mixed tasks to complete a good mix. The volume mix. In this phase, you define how loud are each instrument relatively to each other. The pan mix in the pound. Next, we define where the instruments are located in the studio space. And finally, in my eyes, the most important and also the most difficult, the frequency mix, also called the spectral mix. In this phase, you made sure that each instrument has a dedicated frequency range. The first step is to prepare your mics. That involves cleaning up, make sure that you are satisfied with all your individual sounds and instruments. If you are limited in CPU power, balance, humidity generated tracks to Odeo. Odeo requires much less power from your computer, then music or sounds which are generated. Why synthesisers and then pass through the effects. Remove all unwanted buzzes, pops, and clicks in your audio tracks. And also check for artifacts for myo sin so your effects. If a new project, you have many tracks which can make the process of mixing them tedious or unmanageable. Group them, group the tracks that have similar spectral ranges and sounds together. Do that after having volume mixed them and keep the origin nodes. Of course, you can do that. For example, if you have multiple electric guitars or mutable violence, remember, mixing must be fun way to work. You need to prepare it. You need to prepare the fund. Label, label your tracks, color-code them. Have you own organization. It doesn't matter but be organized. If you are not, if you're a mess, you'll always be looking for this instrumental, this track of that, and you will lose it. Mixing is not, mixing is like making music and the flow of creation you are creating when you're mixing. So make sure that everything is well organized so you know where things are and you didn't have to lose time, will lose your workflow by searching, foster, bypass any effects you might have inserted on the main bus. Do that because you want to have the pure sound like do you want to work with the war? You might want to put them back afterwards. That's not a problem, but this is part of another phase of the mix which is called the Mastering. Finally, the most important start your mix with flesh ears. We can be deceived by our ears. It's amazing. Have you ever, for example, mixed something and you thought I was very good and the next morning you listened to it and then start your maintenance fresh ears. If you don't, you're just wasting time. Step number two, create a WAF volume mix. The objective here is to get a fear for your music by adjusting the volume of the individual instruments. I insist again, make sure your ears are vested before starting the mixing process. Then check on each track that there are no unnecessary effects, especially reverb. Reverb can mess up, I mix quite effectively. So if you have reverb, which is not really necessarily get rid of it, start your volume mix our muting all tracks, and then unmute them one-by-one while adjusting their respective volume. Make sure to balance instruments according to the fear you want to give to your music. Not what is standard. Stay yourself. Once you are satisfied with this, go to the next step. Step number three, frequency mix, also called spectral matrix. This is the most crucial step. Make sure you understand what follows. When you listen to a rock band playing, you hear the kick drum, the bass, guitars, the snare, the keyboard or the piano, the vocals to the hi-hat, the symbols, etc, percussions, whatever. How can you make all these blends so that the result is a harmonised piece of music in which we can appreciate the talents of both players. Instead of a big machine, messy noise. You have to separate them, and you have to separate them in frequency. Each instrument covers various frequency bands. The bass and the kick drum will provide sound in the low-end from 50 to $300, but can also show up in the highest at two or 2.5 kilohertz. The vocals will be predominant between six hundred and twelve hundred hertz, that you do have some booming, while 200 hertz and siblings in the five kilowatts. Another example, some symbols and hi-hats would carry energy more in the highest above three kilohertz. But if you want to keep the going sound, you need to keep some of its energy in the lowest two. When it comes to synthesisers, where they can show up absolutely anywhere. So you really need to take care of these guys in Google, type instrument frequency range and find dozens of charts. But the best idea is to check it out for yourself using reserve spectrum analyzer on your own instruments. Like you can see now on the screen. Yesterday. When I was thinking how to present this video, had a lot of fun recording some instruments and recording also their spectrum. Check this. Look at the spectra. What a beautiful representation of my voice. The point or spectral mixing is to avoid instruments treading on each other's toes by giving each of them some spectral space. For example, it's a good idea to remove the midst of a base, to leave the space for a rhythmic get out, and to remove the low-end lumbar of the guitar to leave space for the base. Another example would be to reduce a synth pad in the range of frequency where a melody piano is playing. This last example is one of the things we will do on our little music track. By the way, the best way to do this is to visualize each track with a spectrum analyzer. So you have a good idea where it is located in the audio spectrum, and also where you can cut unnecessary one ball or noise that you did not need for your music. Here's your eyes to help you ears. Sometimes it can be quite difficult to do that. For example, a bass and the kick drum often battled for the same spectral space. The solution is to use frequency selective side-chain compression. This technique separates base and kick in time by dynamically reducing the bass sound at the frequency of the cake each time the kick hits. We will see how to do this in the next video. And finally, my last step concerning frequency mixing. I suggest you start dealing first with the low end and then you make up your way towards the higher frequency instruments. Step number four, part one. We adjust volume. By spectral mixing. You actually modify those sorts of volumes of the different instruments. So readjust the volumes to your liking and keep an eye on the view meters. Make sure that you leave at least three dB headroom on each track and also on the master bus. Step number four, part to the pan mix. Panning correspond to placing the instrument in the studio space. This listener can identify where each instrument is located at it. Make sure that the bass and the kick remain in the center. Unless you want to make a special effect, the lead instrument or lead vocal should also be around the middle. Step five, mastering. Mastering is a process of preparing your track for distribution. When you are at this stage, you'll make sure already sound pretty good. I personally do not do this step in reason. I use a specific program for that. I find the Mastering tools offered in reason to be limited. However, some wacky extensions, which I talked about in section four, can do quite a good job to master your tracking reason. Carry out the following steps in order in the main bus in certain EQ to color your track to your liking, to be truthful is actually a first step that I do in reason. I use a soft tube tree down a range EQ. It's an amazing EQ to give some colors to your music for this course, for which I limited myself to only use the modules which I am the reasons package. I inserted the reasons masterclass EQ. Then if you wish, you can add a light reverb for ambiance and also to glue your truck even more. But be careful that it doesn't clash with those you might have on individual tracks. I actually do this sometimes in reason with a one-week extension which I find baby good for this kind of job. For this course, I use the RV 7 thousand and K2 module, which is included in the reason package. Next step, add a little compression to glue your track together. In our little track, I use the global confession of the mixing table. Normally, I use a VST multiband compressor for this job. There is no modules that do this within the region package, but there is a wacky extension that can play this role, but I never tried it, so I cannot really comment. The last stage is maximizing your track, which allows you to participate in the loudness walls. Reason you need a whack extension for that. You have, for example, or zones maximizer, which does a pretty good job. But be careful not to abuse from it as it can change nature and feel of your sound. Now, the best part, this super tips I learned along the way, tip number one, you are getting crazy. You cannot manage to get the mixed wipe. So after having vested ui's and calm down, trust spectral mixing your track in mono. And when you're done, go back to studio. You'll be surprised. Tip number to compare your mix with a weapons user track you like in a similar style that new music and use it as reference imported in your reason file on an audio track. Solo that track from time to time, and listen to your weapons for comparison with your own mix. This doing the mixing process. Tip number three, don't be impatient. Mixed may take as long as producing the track itself in terms of time, not in terms of work. When I mix a track, I sometimes have to come back to it many times, just 20 minutes sessions, you know. But these sessions are separated by hours or even days. So finish your track tomorrow. Tip number four. You have been working on this song for hours and hours. You have lost objectivity. Ask for honest feedback from other musician friends and be objective. Truly listen to what they say to you. Tip number five. Never, ever use headphones to make some ouster. Headphones are matched to fluttering, much more flattering them speakers. On the other hand, when you get a good mix on speakers, it usually sounds amazing in the headphones. Tip number six about the speakers. Make sure the world you use have quite a flat spectral response and are neutral. And also test your mics on multiple systems like your car studio, a boombox, computer speakers, or even an iPhone. And tip number seven. This is actually the most crucial one. Take care of your ears. Your ears are your most precious friends, but also the most fragile. Do not play, listen or mixed music too loud. And for long periods of time. When you go to disclose a concerts, make sure you have earplugs with you. Good ear plugs costs around $20 and are quite musical. They've got little filters in it and it works quite well. I use them all the time. Think about it. You really do not want to break your ears. I hope this was useful to you guys. So happy mix this two olam. 3. Preparing the mixing session: The first step in the mix is to prepare it. So let's look at what we have. Even though there are not many tracks, it is a little bit of a mess. It's organized, the's a little first. We can check the names. Well, I'm OK with those the names except this one. I don't even remember what it is. Oh, yes, it's a sound. We important in sequence, sir. It was an impact sound for the end of the song. Let's call it impact. I double click on the name and rename it. Then it is a good idea to reorganize the tracks first in categories, then from low to high frequency ranges so we can start with the beat. And then I take the sound, which I related to the beat, like Percocet terms or dry effects like the bush or the impact. Then I will put the base and finally, the piano on the pad house he liked to color code. The tracks actually have my systematic color code, a color code I use throughout all my tracks. I do that because it's very practical. When I opened some work I haven't been looking at for a while I see straight away what everything is about. I need to change the base. For example, I know exactly what track is involved. So for the beat, I usually use blue for the kick. I you still boo, but the snare and percussion tell you straight blue on four symbols of drum effects are we use library, hear the beat is all in the same track, So I just used to these bush and impacts actually beat related. So these are drum effects, so they get the light blue color basis. I usually take a purple color piano lead synth how we use yellow pads. How much use challenge, then, if I have guitars, I was just green. I could stick will be heavy green electric could be light green and for vocals are with views we'd color or peach color, depending if it's female or male. But we do know have these in this trap for muted track that I wish to conserve. In the main file. I use red when you have 30 tracks, it can be a belong to do that, but believe me, it is very useful in preserving workflow when you're mixing, let's see if our color coding has been followed up in the sequence. Yes, it seems it has, except for the tracks, which do not have specific channel strips usually effects automation tracks like these. So let's make the color of these tracks consistent with the main channel strip their associated with. So this would be the pad. So let's color code them in orange. Finally, that's were into tracks as they are in the mixer, so the piano was above the pad on the impact was closer to be. Now that we have organized ourselves, let's set up a loop so we can make arrangements on the fly. It's time to make a left volume mix. So let's play and lord for mixer, much change. Actually, remember that I'm mixing with headphones, which you should never do, but I'm forced to do that to be able to record the video at the same time. So that makes won't be fantastic. It's much better to do it with loudspeakers. Please remember that Do not use headphones to mix like I'm doing now. Let's dive in. I opened the mixer, open the spectrum e que I select a beat. Then I soloed beat what we will do. We will observe the frequency range of each of the tracks, starting with the beat. Now, as you can see, it covers the whole frequency range. Of course, we have three instruments while in the midst, which is the snare one in the highest, which is a high half one in the lows, which is a kick farewell to isolate them. I can just move the lanes. So now I have only the snap. Well, the high hat for the cake. That's my wish. And here I had the base on the piano. See? They won't have definite frequency ranges, Pat. I notice something with the bush, so I will salo it and go back a little to listen. You saw this loaf? Well, it's unnecessary. I'm going to get rid of it by using a high pass filter. Yeah, here, kit. Let's go back to the beads. So and so lose Bush. But solos beats so I can listen to it alone. Yeah, it was all over the frequency range. We need to separate the cake from this Nanhai hap, but that I duplicated track in the sequence of right click on it. Duplicate tracks and devices. And after the naming the two tracks, I would remove the lanes we do not need. So in the kick track, I would remove the snap. So I will move the name and a high hat. I understand high hat track. I will remove the kit. And actually I do not need to have the starting take twice can remove it from here. So as you can see the KK separated from the stand high hat You got to independent channel strips now and a chisel. So in the back six, do you see here you have two independent channel strips. It's equally Taubate. Starting with the snare. I could get rid of these low frequencies here. There No quiet so I can high pass feel to them. I would like to boost a little bit here to give a bit more death throughout spare so I can press on Piquionne and boosted here. But as you can see, this ban is very large. So if I press on the mode, I can have a much narrow Bab. That's nice. The red dog here represent a high shelf. So if I can boost it a little bit to get more sparkle life enoughto high hat. That's good. I'm satisfied. Let's look at the kick. As we can expect, most of the energy is in the low frequencies. This put the base on. Yeah, they quite on top of each other on day. But what I noticed is that I don't really need this band for the kick, so I might be able to cut it, and I want a little bit of snap. So this is about to Kyoto. Yes, that seems good. To be truthful, I really do know like the sound of the snare. It's much to try, so maybe it is a good idea to do something about it right now. So I will solo it and call the lack, and I will insert a reverb you not so much. It's not exactly what I meant. I would like a warmer feel, like in the room, so I select the relevant patch. That's too much eighties for me, maybe a bit less. That's pretty neat. Let's add the base, the beat. I have to admit that I really don't like The sound of the base is gloomy and round it's not interesting at all. It's so going. I'm going to change potato and actually more than a little. I'll go in the back, find my base. I'm going to change the way for. I want something a little bit more country now. A bit more gritty, meaning more harmonics. If he left foods, he's got to put some soul tooth. You have more harmony, and let's more pass. She want to see what I'm doing. I would like to cut it a bit in the mid sea, so to create I'm classing ELISA and altogether. It's been a great more distortion, actually. To go to the base, I'm going to add in distortion. Oh, that's too much. Yes, I would choose a tape distortion and then I'm going to play a little bit with you, sir. I would probably decrease it to bed. This range opened the email around? Yeah. Most base this vision. Uh, get it. We don't know. Bite. I should get to use bells to emphasize. E Put me to call again. I apologize. If it doesn't sound really good on your speakers. I'm using headphones. And as I explained at the beginning of this video, I'm forced to use them in order to recall this video. What I'm perceiving the headphones is probably incorrect compared to what would be on speakers. So again, do no use headphones to mix From now on, I'm not going to ghost in so much detail. When I'm mixing instrument, I will just show you what I did in the studio. But I wanted to do one or two. In order for you to see how the spectrum eager works. You got low pass high pass filters. You can put the Equilon on, put it in email to have now, or bands. And you can also use bells at the extreme left and right of the frequency range is the the CQ Close for is actually to the Eker in the table. Here, you see these settings corresponds to what you're setting here. If I change this, you can see this pattern is actually changing. If I put Bell here, the bad goes away. Let's compare the spectral range of the base and of the kick again. That's a big well, they're really on top of each other. They're using the same spectral space. The problem is that both instruments need these frequencies to exist and cutting significantly. One for the other would alter the sound we want. So is their solution. Hell, yeah. The solution is to cut the base only when the kick hits. This is called side chain compression. We can cut the volume of the base only in the frequency range, which is troublesome. Now, this can be called frequency Selective Citation Compression. This technique means that we're going to control the volume of the base with the kit and in the troublesome region of frequencies only. How can we do that? Well, the answer will be in the next video. 4. Spectral mixing and side chain compression: Today, I will introduce you to a specific out your treatment, which is part of the mixing process side chain compression. Deeper in this video, I will focus more specifically on frequency selective side train compression in terms, often fighting for spectral space, making a mixed, muddy and unpleasant as we discussed in the two previous videos, the solution is to separate infrequency. These instruments make them clearly distinguishable to the listener and also bright of the mix. The problem is that you need to cut some frequency bands to these instruments, and this might change their so annuity. The reason you may have chosen them in the first place. For your music, for example, you have Here is the frequency range of vocals on an acoustic guitar. As you can see, they overlap with two instruments only a gitana vocal. The human ear can distinguish them quite well and no treatment. It's really needed, but if you have more instruments in the background, like drugs based and piano, the guitar, the vocals could blend in a very unpleasant manner. And you have other situations like these. For example, the base and the kick drum, well, piano and guitar basically all instruments that place simultaneously in a similar frequency band. As we have seen in a previous video, The standard way is to spectral mix the two sources by separating them in frequency. For that, you need to cut a frequency band of an instrument. Here we can cut the frequency band of the guitar so that the vocals can stick out. The issue is that you need to cut the main band of the guitar on the guitar with sound a little thin now, and also when the vocal stops, the volume will decrease. In other words, you song could be beautiful, but it might sound crap. Sorry to be so blunt. The solution to this problem is side chain compression. Sideshow in compression applied to this situation consists in decreasing the volume of the guitar each time the vocals activate. This is an essential process to look at when mixing a project. It allows the volume of the strong not to be affected by the presence or not off the vocals while keeping clarity. On the other hand, some harmonics off the instrument will not be perceived anymore by the listener. When the vocals kicking Your sound, we lose in septal t and you risk a pumping effect. Such a pumping effect is grateful. Electro pop tracks like that wouldn't get that type of tracks, you know, but not so much for more acoustic or walk stuff. So the solution becomes frequency selective, such and compression. It is the same principle. When the vocals kick in, the volume of the guitars decreased, but only on the frequency band needed for the vocals. The perceived volume stays the same and the timber of the instrument. Also, the lower frequencies and harmonics stay untouched. In addition, because you affect less a spectral range off the instrument with time you significantly decreased risk off pumping effect. How we show you how to apply this technique on the kick base pair in the mini tracked we are currently working on. However, the effect will be stopped because the base plays on the upbeat and we only have a few tracks. The effect is much more significant in busy music productions so that you can hear such effect. I prepared another mini track, eight bars off, busy electro, and here you will be able to clearly hear the difference. - What is actually happening the audio of the kick is sent to a compressor. Each time the kick hits Confessor would apply again reduction. However, we do not process it audio kick. We do not send the audio back. We just collect the information about the gain reduction it would apply. We use a compress it as a switch to activate something else. Then we split and direct this trigger information to equalizers inserted in the channels off the base and the pad. By sitting them up correctly, we can tell the equalizers to decrease again knob off a frequency band we chose in advance each time it receives the signal. So in the end, each time the kick hits the seekers automatically performer frequency mix that we have defined in advance Pretty elegant reason is really cool for this kind of stuff. I'm going to show you how to set this up in practice in the little track we have been working on. Remember this one? Let's go to the wack. Hey, we have the cake. Hey, we have the base. That's all of them. The first step is to insert an effect within the kick. This effect will be a compressor as you can see Each time the kick hits there's again with action that occurs. This can reduction depend on the threshold. If the volume of the cake passes over, this s old, then the compressor will cap the volume. Here the best hold is very high. So there's no gin reduction here. It is low and that the strong in with But the objective here is not to change the volume of the kick. The objective here is to collect the trigger information that something happens each time to kick hits the magic occurs in the back. First of all, we're going to disconnect the output of the compressor to the return off the Channel strip . This will automatically bypass any effects inserted. We are no interested in processing the kick sound. Instead, we are interested in that again Reduction CV out CV Stanford controlled voltage. This output does not deliver or Joe. It provides a signal telling by how much again reduction is carried out. We can use this signal to control other devices. Now from that do you start to see where I'm going? Let's go to the base. I will open the channel strip of the base As you can see in the back of the Channel strip, there are many CV imprints meaning that we can control some para meters off this channel strip by other devices. So let's connect the game redactions. TV output of the compressor to this. What have we once he in? That means that a signal coming from there will replace the What are you one button? Now we have to loot this signal it is in. What have you won? So we have to assign what? Everyone to a para meter in here on this window you can see a list off the effects which are inserted. Let's select Atiku. We have whatever you want here. Let's select the target. I will select Palomita to gain this button. Is this one? So that means that the signal comes out of the compressor Ghost who will tell you one and then is routed to this matter? Activate the frequency band display As you can see each time to kick hits this pattern gets a signal we would like to have again decreased no again increase when the kick hits so we can play on his proportionately factors that we just reverse um I click on them and move the mouse. Now that's play. Yes. Now I can adjust the frequency to correspond to the frequency off the kick around 48 years on change, for example, the with off. If I want to choose to get the effect, I could always increases in order to refine the effect. We can also play on the attack and the release time. On this diagram, you can see the volume of the kick. When the volume of the kick is above a threshold level, it will trigger the site and compression. That is again reduction on the base for you. If I choose a short attack this game of it, action will be immediate. If I choose a long attack, it will be gradual. If I choose a short release, then as soon as the volume of the kid goes under the threshold level to getting reduction on the base will immediately stop. If I choose a long release, then it will take some time before it stops. If I use a short attack in a long release, this leads to a pumping effect. These would be the settings I would have if I wanted to make a punchy electro try. If I want to do something more relaxed something, Marquis, take a walk Commercial like a little track. I would choose a short attack, but also a short release. If you're actually interested in getting this pumping effect, I have commanded you apply the side chain compression without selecting the frequency. Do this on the whole range and you know, only side compressor base apply section compression triggered by the kick on all the instruments that should do it on our little music. The effect of this trick is marginal because the basis on the A beat that it really is golden. All bass heavy music like electro and dance actually use it all the time. A lot on Goa trance, much more subtly for walk and micro Steve Jobs. It really can make the mix punch. Let's put the other instruments back by Ansel owing the kick in the base and have a look at the main. So I would like to compare the base and the path so I will launch suspect me que Actually, I'm going to solo the banks of the pat. So you have the base. I do have a little bit off over lamb here between to say I'm going to apply the same strategy this time. It is the base that will control the volume of the pad in the mid lows. I would not be talking here just acting by now. You should be able to follow every step of the way. Oh, and before I start the little demo here, I just want to tell you that I'm going to explore a little bit. You can use sites and compression to create very creative effects. And sometimes melodic wants. Take it out. In the next video, we will provide the last refinements to our little music. We will finalize it. It would be a good occasion to show you how to insert effects in the main bus. 5. Finalizing the mix: Do you remember One of my main recommendations when it comes to the mixing process, do not make Swiss headphones. So to finalize our little music, I carried out the last adjustments in my studio. Here is a fire. Let's have a look at what I modified. First, I look at the pad on the piano that is suspected of the piano. That is a state of the path. Check out the fundamental frequencies for the cattle on a boosted region there. Immediately after that, I checked the pad and I cut the same region. Still on the pad, I increased a little the lows that are, anyway side. Shame to the base and apply the high sheriff of the high range off the frequencies of the path. Except for this region, three focal words that's to avoid harshness in order to make it blend well with the piano, I reduced the piano in the 1.52 point five kilohertz creature. So now birth instrument have got a region where they can shine 0.5 to 1.2 for the piano and on the pad, it will be between 1.5 on 2.5, sometimes putting a little compression on the cake can be a good idea. It gives it a little extra punch. It slices through the mix. I tried it here. I had to speak the audio, though, to make sure I still had audio in the other compressor used for the scientific compression of the base. Ideally, parallel compression is best, but this discussion will be for another course. Satisfied with myself and frequency makes. I went back to the mixer by pressing a five and adjusted the volumes to my liking. Then I looked at the studio positioning of the instruments base and cake I in the center. Actually, I left most of the instruments in the center there just a few number of tracks. I just plays the piano slightly on the left. Also place your high hat slightly on the left, but as it is blended with the snare, have to do this in the region. You can see it. Notice the with battered next to the pan batons in the mixer. Old tracks here except the base. Our stereo. The width button indicates the stevia spread of the instrument. Let's solo the past, for example, and reduce the width. All right, you can see on definitely here. The effect. Let's go back to the lack a six and have a look at the back of the most of section model. Remember, the Martyr Section model is a device that is at the end of the chain. It is where the master stevia track is processed. Before being sent to the audio interface, we can see two types of inputs and outputs in the back of the device. A series of eight effects sends and returns under standard insert effects, inputs and outputs similar to any channel strip in the mixer above the failures, there's a section with eight slots corresponding to the eight effects sends and returns. In the first slot, I placed a reverb that you can see here in the lack. The reverb is connected to the first effects. Send output and the signal process by the reverb is returned to the first effects return input. Each one of this section in the mixer is like a mini mixer located before the effect. You can either prevent the audio passing through the effect. For example, the kick is not passing through the effect. Understand high hat are. So if I click here, they will not pass with the effect anymore. I think again there will pass with the effect. If I've taken pre, that means that the sound is said before it processes to the fader. I think again the sound that would go through the effect of the sound after the fatal. Then you can choose how much you want to send to the effect. By using this battle, you can also choose the volume in the pan off. The audio that returns from the effect here finally, is not that in the back, I chose to play the effect on a full wet position. The reason for setting it up that way is that I have a full control of the effect. Just with these buttons, you might have noticed that I chose that all the tracks would be impacted by this reverb. Except for the kick in the base, it is usually not a good idea to add reverb on no frequencies. Having a small amount of the same reverb on all the other instruments create a septal blending effect where the sound appears more harmonies. So that's what I did you notice however, that I chose a low level for the snare as it is already treated by quite some heavy reverb in its own channel strip. In order to create a sand effect like click on one of the empty slots, click on quits and effects and then choose you effect. Double click on it and it would appear automatically in the rack under the master section. If you put stop, you will observe that the main input is connected to the effects end and that the main output is connected to the effects. Return off the second slot where you place the effect. What picking on the Master bus channel in the mixer and selecting effects will insert an effect in the standard manner. That is all. The signal of the master bus will pass through the effect like a standard channel strip. For example, if I insert a compressor in the rack, it will appear inside the Martyrs section device. This is actually what I did with any cube when I had completed my makes a felt necessary to give a little boost in the lows and the mid highs. The insert section of the master bus is actually where you would carry out the mastering face. If you intend to master your track using only the tools in reason stand package, it can be a good idea to use a mixing tables compressor. You will find it here. The compressor will provide a little color to your track as well as a sweet blending effect . True, this full ratio and a reasonable attack, and they're just the threshold to have again reduction off a few DB is only the view meter indicates a level off gain with action. Use a compressor lightly to avoid significantly changing your sound. For example, drastically reducing the threshold will trigger a serious pumping effect. Compressing reduces the volume, so address what is lost with the makeup button. When doing so, what's remained a few meters to check. Your sound is not clipping. That's it. We're done. We just need to explore the some so I will open the sequencer. Yeah, I will exported between these two markers, that's fine. Maybe a little bit more like this, and then I'll click on file export loop as would you file on. Then just select before the where I want to explore my song. Save choose thes. I'm good with this. Okay, Done. Let's check it out. I've opened my browser on my way. Found double click on it to open. Whatever added toe half looks good. Maybe I could remove these. Zoom here to the end of so and then save it again. That's it. Develop. This concludes the core of this course, which was to show you how to produce a music track and reason I hope that the knowledge gained will help you in producing great music. If you have any questions, don't hesitate to post. And then we try to get back to you as soon as possible. In the meantime, beware and stay inside always by