Transcripts
1. Course Introduction: Hi everyone, Welcome
to this new course on World Music Production. I'm Mervin Mathew am a musician,
artist and an architect. I mainly focused on Composing Music where
different styles, Genres include different media. As you guys know, this
is the Fourth part of a Series of courses on
World Music Production. And here in this course
we will be discussing about australian aboriginal
music in detail. In this course,
we'll be discussing about all the
theoretical aspects, all the unique features
which defines this genre. And we'll be doing a track from scratch so that
everything which we are learned as part of
theory can be applied directly and you can create
a track in a professional. I think world music has influenced countless
other musical journal. So if you're part of
any music genres, still these goals is
going to help you. I haven't seen a lot of courses on World Music
Production out there. So in effect, this course is
going to be really league. And without further
ado, let's get started. See you there. Bye.
2. Genre Introduction: Welcome everyone
to this new course and australian aboriginal music. As you guys know, this
is the Fourth part of a Series of courses on
World Music Production. If you are going through
the previous three parts, you must be knowing about how the course is being structured. It is divided into two parts. The first part we
will discuss about all the important aspects, all the unique features,
Music theory Aspects regarding this particular genre. And the second part, It's more
like a practical session. We'll create a track
from scratch based on the things which we discussed
here in the first part. So after the completion
of these two sections, you'll be able to create a rational quality
track from scratch. So without further
ado, let's get it. So what exactly is
the genre name or even the name of
the style when it comes to World Music context, it is nothing but australian
aboriginal music. As you guys know,
Aboriginal people or tribes or group of people who live in different
parts of the world. But australian aboriginal
people has got certain specialties to it because their culture
is so unique. And there musical
contribution to this world music
scene is very special because the musical instruments or the way in which they
musical instrument, It's our plate and
all those things are really unique to
australian aboriginal music. So let's discuss about
all those things. So we need think about
the historical or even the evolutionary
aspects of this journal. You can very clearly
understand that very diverse, it's very complex
traditional folk music of indigenous people
in Australia. And it has been passed down through different
generations, like most of these folk
musical traditions. So when you think about
this evolutionary stages, it has Influences from
the early generations. This music has influenced a
lot of other musical genre, especially new age
music, world Music, Film Scores, fusion Music. All these new musical genres are really influenced from this australian
aboriginal music, especially their instruments, the way in which
they play music, all those things as influenced a lot of
other musical genres and let's talk about
the classifications are subgenres of
this musical style. It is divided as
traditional Music. Traditional music
has certain rules, are certain way in
which it is being played because it's a
part of a tradition. And then we have this
contemporary aboriginal music. In contemporary
Aboriginal Music, you can see that a lot of newer Influences
are being used. Or it's being, it's been done like effusion Music
with new instrument. Maybe you can find
certain instruments from australian aboriginal
music being used along with an
orchestral instrument, or with certain new
ensemble companies. And you can find
these instruments. So it can be brought, brought out into a
contemporary setting. If you can use it really valid. Let's move on to
the main references or even the artists are banned, are certain influenced
Albums or Film Scores, which you guys can refer. So even though you know all
the theoretical aspects or even the unique
features of the genre still you have to hear a lot of music based on this
musical style. Otherwise you won't
get the right, right feel or even the
wave of the genre. Now, let's move on to the
musical references here we'll discuss about the main
artists, bands, Film Scores, Albums, which you
can refer to get the clear idea or even the
wave of this musical style. So all these artists,
Jeffrey glutamyl, unique pink goo, Archie Roach, Christina, and Q Carmody. All these artists
are really famous for their musical contribution. And the bands like you
to in the warm-up band, no fixed address, mixed
relations, all these bands, you can just go on and search
for these bands and start listening to their tracks
so that you will get a very clear idea about how
the Music is going to sound. And in certain Film
Scores are also really inspired by australian
aboriginal music. It includes a can of Jimmy
blacksmith, Rabbit Proof, and Australia tend
can walk about all the news are really inspired by australian aboriginal music. So if you have enough resources, please find these movies and just go through the
soundtracks of these movies. So now let's discuss about
the musical aspects. These are the general
characteristics which we'll discuss. The Music is really connected to land and natural environment, like many other folk
music traditions, the Music has been
evolved from the nature. The sounds, from the
nature, the sound, the sound from the animals, birds pushes the natural sounds. Every thing, everything
which we hear as part of nature has influenced
these musical genre. In most of their tracks, you can find the sounds very
deliberately being used. And it has a strong
oral tradition. So like many other
world music traditions, or representation of
Music is very important when it comes to australian
aboriginal music. Also, this musical
style uses a lot of complex polyrhythms with
multiple percussion layers. If you start listening
to aboriginal music, you will very clearly
identified that. And vocal techniques
like throat singing, yodeling, high pitched vocals. All these things are being used. Music as a spiritual
role in their community. And I think it's also
a common feature among different folk
musical choose. Spiritual side is always with Australian
Aboriginal musical to. The music plays an important
all in their ceremonies, festivals, in their culture. As such. It has a healing nature also. So it has a very important
roles in their culture. That's what you guys
have to understand. One most important thing
is the music also have this improvisational
experimentation nature to it. Also, it doesn't have any kind
of strict rules to follow, but even performers
can have some sort of improvisation or experimentations
in that performance is. So that's, that aspect is also open when it comes to
Australian Aboriginal Music, the main field or
the mean emotion, it has a very spiritual, supernational feel to it. Because all of
these cultures have some kind of supernatural belief systems or
something like that. So they always late music
to that aspect also
3. Musical instruments Used: The main instruments,
they use a lot of very important
instruments like didgeridoo, clap sticks, bull rollers, eDonkey vocals,
gum, leave extra. As you can see it on the screen. This bamboo made instrument
is called as a didgeridoo. And it's a very
iconic instrument. When it comes to australian
aboriginal music, you can only find this musical instrument in this culture. So it's more like you directly relate this instrument to australian aboriginal music. Then we have this club sticks. These are just sticks which are used to play some
percussion parts. And bulldog is that this is
actually the bootloader. It has a very unique sound. It's being used in
a very organic way also will discuss about that
in the practical session. And they use eDonkey
gum leaf to play sudden percussion parts or to give some kind of
atmospheric fields. And obviously vocals
are also there. So these are the main important
instruments which they use as part of Australian
Aboriginal Music. And you can very clearly
understand the role of each and every instruments when you
start listening to this Music
4. Melodic Aspects: Now let's discuss about
the musical and symbol which is being created
using these instruments. In most cases, musical ensemble is based on different occasions. As we mentioned before, music is one of the main
part of their culture. So it's always being there
in their ceremonies, festivals, and almost
every other activities. For each and every
activity is they have their own kind
of combinations. But in most Australian
Aboriginal world music tracks you can find digital dues, club sticks, vocals,
and natural champions. These four things are
commonly present in most of the Australian Aborigines tracks and they're sounding
characteristics. So when you start
programming it, you have to understand that all the imperfections of Live
playing, it has to be there. These tracks you
will very clearly understand the imperfections
of their playing. So that makes it sound
really authentic. And more focus on
invoking the field rather than musical structure
or theoretical aspects. The field is the most
important thing. So now let's move on to
the melodic aspects. When you start listening
to these tracks, you will very clearly identify the things which we are
going to discuss now. The first thing is the
usage of micro tonality. Because as you guys
know, like most of the folk music cultures, they don't follow the Western equal temperament
kind of system. Tones are being used, how the
semitones are being used, how the micro tones
are being used. It is very unique to each
and every folk cultures. Similarly, when it comes to
Australian Aboriginal music, microphones are being used when they play this digital do. All those instruments. They don't follow a very strict a tonal center
or something like that. Maybe you feel like each and every instruments are
at times out of tune. So my tonality is an important aspect which
you live to keep in your mind that gives that imperfection kind
of feel to this music. And the usage of
pentatonic scale that is also really common to a lot of musical folk music
genres because pentatonic scales are always
part of folk music cultures. And you have this
intervals music features wide intervals
and last steps. This is also a very
important feature of Australian aboriginal music
because they use a lot of wider intervals without having proper resolutions or without having any strict rules
or something like that. And they use
non-standard tunings. Tunings are also very different from the way in which the Western musical
instruments are being tuned. So they have very different
kind of tuning system. But when you, when you find these musical instruments
as part of VSD libraries, mostly they have this option
to tune these instruments. So maybe if you
really wanted to use these instruments in a
very different setting, in every western music
kind of setting. You can even tune
it micro tune it to that tonal center or
something like that. So that options
are there when it comes to EST, libraries. But in case of light playing, I don't think that they
have this standard tunings. If you try to use
these instruments in a different setting other
than the usual setting, then you will face all
these issues regarding the non-standard tunings
and things like that. So it will be a challenge. The next main feature is
a usage of modal scales. I don't think that they, they use a lot of my
minor and major scales as we use in Western music. So these are the main
model scales which are used as part of Australian
Aboriginal museum. I actually don't know how
to pronounce it properly.
5. Rhythmic & Harmonic Aspects: What about the Harmonic Aspects? In this particular style? Harmony doesn't have a
prominent role to play, like investment music,
as you guys know, you have this melody,
rhythm, and harmony. Each has its own role to play. So here in australian aboriginal
music, you won't find, you won't find a musical instrument or
something like that which has a role to play
in terms of harmony. So mostly they
focus on the melody excited and even the rhythm excite them is handled
by the percussion. So melody under them are
the most important things. Harmony is not that not that prominent in Australian
Aboriginal Music. Some tracks incorporate certain Harmonic Aspects
up to a certain degree. Probably even you place
an rhythmic aspects or even the melodic
Aspects automatically the Harmonic idea will come in, but it is not that
intentionally done. So in australian
aboriginal music, the harmonic style or even the harmonic structure is established through
ostinatos and even using drawn multiple digital will be played
in certain tracks. So when they play this drones,
they play different notes. So automatically these
nodes overlap and we feel like some sort of harmonic structure
is being created. I don't think that it is that intentionally being done
to create this harmony. But they usually play it as
drones or lengthier notes. Music mainly focused on melody, rhythm and storytelling aspects rather than harmony,
that is the main thing. They mainly focused on the Melodic aspects and
even the Rhythmic aspects. When vocals are coming in, they usually try to
communicate certain stories, are certain legends or
something like that. And as we've mentioned it in the last slide, these
musical instruments, which are part of Australian
Aboriginal Music, they can be directly used as such in a orchestral setting
or something like that. Because, because of the
issues with tuning and all these micro
tonal issues will be exaggerated when
you're playing it with an orchestra or
something like that. So fusion Music is quite challenging with
these Instruments, but it all depends
upon your creativity. You can use it wherever you want by managing its strengths
and weaknesses. Now the Rhythmic aspects, very complex syncopated
rhythms are being used. It's being influenced from the natural elements like the water flowing animal
sounds or something like that. When multiple
percussion instruments are played simultaneously, you feel like
certain polyrhythms are syncopated patterns
are being formed. At times it is very
intentionally done, but in certain situations, they play different,
different parts. And when we hear
it as a totality, we feel like some kind of single-period
patterns are getting created and polyrhythms. It's also one of the
most important feature in Australian Aboriginal Music. Different instruments
played I was rhythms, which as you all creates
a complex overall sound. So in a micro-level, we feel like each and
every instrument plays different, different
rhythmic patterns. But in that macro level, we will be able to recognize the polyrhythms
which go together. And improvisation
is done often which creates a lot of
unexpected sentence. In this musical style. Improvisation has
got a lot of scope. Probably you can go for
any improvisation Aspects. This music style has
got a cyclical form. You can find that a lot of very small patterns are
being repeated like a loop, so it has a cyclic
form altogether. The next one is the call
and response feature. Like many other folk
music traditions, call and response is
also very important. It can happen between
instruments or even with vocals. Both can work really well. The next one is body percussion. People use their different
body parts to place it. And percussion elements, which can really enhance
the rhythmic section. And Time Signature is
not as structured as VC investment music can change
our goals of the track. More emphasis on
the GRU and energy rather than strict
Time Signature, they don't exactly follow a Time Signature like we
see in Western music. They go by the field, so improvisation
also can happen. The next thing is regarding
the track structure or even the arrangement of the total track structure varies depending upon the context
in which music is playing. The next thing is the
call and response idea, which can be released
artistically use to build energy and
momentum for the track. And when it comes to
vocal performances, they usually convey
certain stories or legends through their
vocal performances. So the structure
also depends upon how the story is
being communicated. And aboriginal music is more
focused on creating sense of connection with nature with a more fluid and
flexible destructor. It doesn't have a very
formal kind of structure, as we see in different
popular musical genres. It is much more organic and it doesn't feel like the Music
is starting somewhere, or it is going to in
some way you want, feel like the music will have a proper kind of resolution
or something like that. I strongly recommend
you guys to listen to a lot of these tracks
so that you will very clearly understand
how these things are being applied
in a practical way. And I think these are
the basic things which will have to know in
the part, a section. In the next section, we'll
discuss about how we can create a track in
this musical style. It's quite challenging.
Let's move on to that.
6. VST Instruments Used: So welcome to this part
two section here will be creating a track from scratch in this Australian
Aboriginal musical style. So if we are going to
the part one section, you must be knowing
about all the important aspects of the genre, the main musical instruments
which are being used, and even the melodic, rhythmic and leaving
Harmonic Aspects. And I strongly
suggest you guys do listen to certain tracks and then come to this
section so that you'll be much familiar with
the musical style. So the here, the
first thing is you need to have some sort of sample libraries with you because when it comes
to world music, you need to have decent
quality library to emulate the Tons of each and
every Unique instruments on, in that particular style. For World Music Programming, I always use this
ethanol World Library. And I think it's probably one of the best life vst libraries out there and it's
not that cheap. If you can have one
library like that, it can save you a lot. The next thing is, if you
have seen my earlier videos, I have this workflow where I always start
with the melody. Then after finalizing
the melody, I'll go through the
Harmonic Aspects, the court, which you can use. I'll move through the
Rhythmic aspects and so on. So first thing is melody, but here in this musical
journal domain challenge is you won't have a lot of Melodic options to do because the Instruments
domain instruments, which comes under
this Musical Jonah, is not that Melodic friendly. So here what I have
done is I started off with a percussive idea, some kind of phrases. That's what the first
idea which came into me. So at first we can see what
all instruments we have Used. Then we'll move on to each and every aspects of this track. The main instruments
which I have used here is digital use different
instances of digital news. Here I have used for different instances of digital
do the sample library, it is from ethanol well six. And then have used this
Joe hop, bamboo chimes, shakers, rattles, frame
percussion and bass drum
7. MIDI Programming: So now let's move on to the
midi Programming session. Here, as you can see, then their tracks are divided
into four main sections. The color-coding
actually represents that each sections
has its own purpose. So let's move on to that. As you can see here, the
bottom three tracks, these are colored in
dark cherry red color. So the purpose of these
tracks is to give some sort of ambiance
to this Arrangement. So how used three
different tracks for that? The first one is the
bird song sounds. It's downloaded sample.
It's a free sample. It gives the ambience of a particular space where you can even think about it
as if Forrest story, place where there are a lot of birds or something like that. So it represents, or it
gives the sense of a place. That's the purpose of that. And the second one is
a digital to sample, which plays like this. It is also a downloaded sample with a lot of reverb on it. I think these are available
in Pixabay website. It's a, you can
download it for free. It also enhances the
vibe of the track. That's what I think.
The third one is a bull railroad track. This is also a downloaded sample from this Pixabay library. Used a panel to do this
Auto Pan so that you can hear one cycle of an oscillation on the right and the other on the left-hand. It just goes from left
to right and so on. So these three instruments
gives the why for this track. So the track is getting started with these the
tracks. So let's hear that. When you think about
the placement of these tracks in
the stereo field, this fully track actually
has the maximum width. And the second track, these digital do track
effects track it. It is just banned
from left to right, and the pairing
happens very slowly. The third one, the
boulder or attract, the moment happened
very fastly between the speakers so that you feel
that auto piano in that. So that's how it is being
placed into CDO field. So these three tracks
are actually giving the WIP or even the
ambiance to this track. So now we'll go to the
percussion section. I have used very
minimal number of instruments as,
as you guys know, australian aboriginal music,
you don't find a lot of instruments and you have
minimum number of instruments. So here in the
percussion section, the long-range
percussion section I have used this bass drum. Bass drum is playing the
main anchoring beat. It is being placed in
the exact center so that the entire music is being revolving around this
bass drum anchoring beat. And then we have this
frame percussion. So together when you play this bass drum along
with this frame from, it sounds like this. So this is how the Bayes, bayes frequency
percussion works. And then I have this third
track, percussion track, the collapsing be track, which adds something to
the percussion layers. So this is how these three
percussion sounds together. The arrangement is very
simple, very straightforward. And then we have
these rattle sound. Here. The rattles are
being passed on to the right and the slapstick
is band to the left. So it really compliments
each other pretty well. Then we have this shakers So that is actually
the fifth layer, the fifth percussion layer. And the sixth layer is the
bamboo wood in terms layer. It also add something to
the percussion, which, which actually makes it
much more interesting. I haven't added any, any sort of effects
onto these tracks. So as you can hear the
percussion section, then the apocrine section
sounds like this. In this portion I, how use this, you have sample to just enhance
that percussion section. This Joe Hub has a very
distinct kind of sound. So you can very clearly
identified sound. It's played using your mouth. So right now as
you can see here, the percussion section
is really simple, very straightforward,
very simple patterns are being used. As we have discussed before. Even there are syncopations or even polyrhythms and
things like that. The rhythm assets is
not that complicated. When you start listening
to this music, you will very clearly
understand that. So I have gone through
the same kind of mindset. I have made everything simple. So now let's move on to
the main melodic area, melody or even percussion, percussive melody, area,
tunnel percussion. That's what I would like to call it when it comes to digital do. If you go through
the vst libraries of World Music instruments, you will very clearly see that for each and
every instruments, there'll be having certain
phrasings associated with it. In case of most libraries, they also provide
these phrasings. So what I did is I have
chopped certain phrases and made my own kind
of melody out of it. This is how it sounds like. So I have used for
different instances of didgeridoo to get some
interesting pattern. So the first digital
two sounds like this. So from here, the
second pattern starts. Hereafter, full bars. I haven't reduced this
third didgeridoo pattern. And the other layer is
also getting added here. So these four tracks are actually pan two
different positions in the stereo field so that you hear it from different sites. So as a whole, it sounds really interesting. So that's it. That's the melody area
which I have done. And let's hear the entire
thing with the percussion. The phrasing is getting
changed over here. Something. So all these different phrases which is available with the vst library, you can just see how all these things fit together
and experiment with that. So that is easiest
thing which you can do
8. Track Arrangement: So now let's move on to the Arrangement aspect
of this track. If you can remember from
the earlier section, we have already
discussed about that. Regarding the Arrangement,
there are no strict rules. Even you can go for any kind of improvisational approach
for these kind of tracks. So what I did was I haven't
gone through any kind of usual arrangements strategy. So something like that. Here. What I really tried was I really wanted to have an
intro and outro. And between that, I really
wanted some kind of Phrase to go on with some
kind of alterations. Probably 16 bar of intro. And then a, then the
second area comes in. And here you have all
these percussion section, we'll with the digital
section playing together. And then we have this outro. And I think this
is probably one of the ways in which you
can approach this track. Now let's hear how the
outro session sounds like. Here, as you can see here
in the intro section, there are no percussion elements
or something like that. Only the ambience
section is there. But when it comes to
the outro section, the ambience section
along with the bucket indirect and both are
playing together. So you have a different
kind of field. So this is how the Midi
Programming is being done. And as you can see here, it's quite simple
and straightforward. You don't have a lot of
sections or very complicated, potent in this track. It's very straightforward. If it sounds good, It
sounds good, That's it. So let's look mixing session
9. Mixing: Hi, Let's move to
the mixing session. If you are going through the
midi Programming session, you must be knowing
that this track has only minimum number of
instruments with it. So probably it must be
much easier for us to mix it because we have only very limited number of
tracks to deal with. So I exported the enter tracks onto a new
session mixing session. And I have color-coded the under tracks based on each and every
groups I have divided, then that tracks into
three different groups. We have this ambience
track section, which has around three tracks. And we have this lead
digital tools section, which essentially has four different instances
of digital Duce, which is played as layers. And then we have this drums
and percussion section, which has almost
around eight tracks, which plays the percussion. And then I have consolidated the instruments in each group, a separate group
channels so that we can process it as a group. So we have this drums
and percussion, lead, digital do
and ambiance taxes, group tracks, and as
effects channels, I have two different tracks, one for reverb and
one for delay. In case of reverb, I'm using this revolution reverb from Cubase to native reverb. And in case of delay, I use Edge delay from waves. This is pretty much the
basic setup we have. When I have imported these
tracks onto this project, I made sure that the silent
areas have been cut out so that the areas where the signals other those are
only visible on the screen. And I made sure that
each and every tracks doesn't go beyond five
dB minus five dB. Because if it goes beyond that, then the total gain will just go up almost up to zero
or more than that. So we don't have
to do some sort of gain staging before we
bought these tracks onto the Mixing project. So let's see how each and
every stays are being done. At first, we'll
move with the EQ. So as you can see here,
these three effects tracks are being played
as the intro part. So here in the robot, we don't have any other
Instruments going on parallelly. I have not done
anything with that. Left it as such. But
in case of Boudreau, Right Thing, I think these three tracks are being killed in the
midi Programming. That didn't seem stage. The banning Altria has been
done for this Boudreau track. I have banned it
from left to right, which goes very evenly. Now let's move on to the
drums and percussion section. I'll go through each
and every instruments. So at first we'll go
with this bass drum. Bass drum has this pro
Q3 inserted into it. So the main purpose
of this bass drum, which is to have the anchor, it has to stay at the
center and it has to provide that sort of anchoring
to this Andrea track. The bass drum is not
playing anything fancy. It just plays the basic beat. So you want it in the center. I did the lower low shelf
filter here, below 80 hz. As you can see here, the, the fundamental of this
Track happens in 146 range. So I have enhanced that area
is likely these three cuts. These are three reductive EQ process which I haven't done. This is to make sure
that other instruments, which has fundamental frequency ranges over here,
stays pretty well. Here in case of frame drum, the main fundamentals and the main frequencies happened in these two ranges to 37 tools. So almost the
complimentary keys being done with frame percussion
EQ and the bass drum EQ. Arranging how reduced? Because here the fundamental
logs-based don't happen to the clap stickies
happening in this range. I have just enhance
that 2,800 range. Also the bamboo can mean is happening in this range
has just enhance that are frequencies that you
hobbies happening in. This also happened the similar
kind of range. This is where the
shaker happens. So as you can see here, when I did the Q manipulations, I haven't done any kind
of drastic changes in terms of boosting or
attacking certain areas. I made sure that
every tracks has its own place to sit so that every everything
compliments each other. If you are having more
than three or four or five instruments, then You have to place
it in the seat of wheeled with the best sort
of panning which you can do. So here what I did this in case of based on my how how kept it in the exact
center position and frame drums lightly onto
the left LTD When sit here. And this bamboo wood James
happen in the right. And you hope is
also in the center. Rattle happens slightly onto the left and shakers
happen almost undescended. I think some sort of
planning is also done, the Midi Programming say itself, so you can see the entire
thing which happens over here. This is actually the static
padding which I have done. And maybe you can manipulate it with auto panels in
the insert section. So that is the second
thing which I did. Here. As you can
see, I have used pancake auto piano to ban the, you have signal
to the left hand, right, so that it
just moves from the left to right as
the track progresses. So this is how vendor and rhythm section sounds with
the EQ only to humans. So now let's move on
to the lead section. We'll see how the EQ is
being done for that. In case of first digital, do I have used this
pro Q3 plugin? And as you can see here, docking happens in
certain points. These are the points where the fundamentals of the
percussion elements happen. So in case of this digital do, as you can see here, then their frequency spectrum is being covered with its tone. Phase-based, low-middle, upper-middle, everything
is being covered here. So if you really wanted to make it sit with
other instruments, you have to do some sort of ducking based on
the fundamentals of other, other instruments. So all these dips are happening in conjunction with the things which happen as part of
drums and percussion. I think I have done
the similar kind of EQ adjustments for these two tracks because these things doesn't
happen together. It just it's like a
call and response. So you can use the same
kind of EQ setting. In case of this
third instrument. As you can see here,
it happens along with the second instance, so it shouldn't be clashed. That is the only thing which
I kept in my way when I, when I did this EQ. So I eliminated everything
below almost 500 range. Probably the mid,
lower mid-range is completely duct
using low shelf VQ. Because main signal
happens over here for this, for this instance. And in case of the
Fourth instrument, almost same kind of
approaches being used. And in case of these four
tracks, as you can see here, I have banded properly because everything should
stay in the same place. So I have distributed
these Instruments zone to the different parts
of the stereo field. So if you can see the
panning information, how minimize the width of
the first lead instrument, first digital do instance. So it is heard only
in the central area. The extreme ends are eliminated. And in case of the second one, I have just pound
it onto the right. And the third eye instance
is placed on the left. And the Fourth one
is on the right. So everything is being distributed nicely
onto the TTL field. So make sure that
even if you do EQ, it will have its
own proper effect only when you do proper panning. So this is pretty much the
Basie EQ which I have done. And I think with that you
can have a proper balance. So now let's move on to
the compression stage. Mostly after EQ. I'll go with compression. But here as you can
see, I haven't inserted separate instances of compresses onto each and every tracks. Because here the main
purpose of compressor is to provide some sort of glue
between these instruments. In case of separate groups, I have inserted a compressor
on to its group channel. So in case of this, percussion, drums and percussion have used this native compressive from Cubase just to give some sort of glue to the anterior tracts. Slight sort of compression. Compression happens
just to give some sort of also in case of didgeridoo. So the purpose of these
belts compressors is to make sure that every
tracks in each and every groups are getting
glued properly and the highest peaks are
slightly taken down It. So that is pretty much the role of a compressor in this track. So now let's move on to the
saturation section here. The purpose of saturation is to enhance the harmonics
of each and every instrument
so that everything becomes much more rounder,
much more fuller. So in case of each and every
instruments I have inserted, almost for every
instruments are handset at some instances of
saturation plugins. So let's start with the
percussion section. In case of bass drum, I use this satin plug-in
with the warm tape setting just to give
some harmonics. Here in case of
frame percussion, I use this magneto
plugin from Cubase, and it just enhances the
punch for this track. Here we have this preset called snare punch.
So I use that. Clubs book also has
these magneto plugin. Bhutan doesn't have anything. You have also has this
tape distortion without distortion receptor being
activated as part of the span. And then we add this rattle. It also has this magneto, slightly enhances Harmonic steps it in case of drums, symbolism, reset. Now in case of digital, DO have used this vocal
preset high-end refresh. The same instance is being
used in the second track also. I think for all these
four instances, I have used the same preset
from magnitude plug-in. So that is pretty much the basic saturation
which I have done. And in case of this
digital do group CaCl2, I haven't set at this
magneto plug-in. Master want is the preset
which is being used. Okay, So these are the ways in which I use this saturation
for each and every tax. So now let's move on to the
reverb and delay section. I haven't inserted any
separate reverbs on to the as insert onto
each and every tax. How I have created two separate effects channels
for reverb and delay. In case of reverb, I'm
using revelation reverb. Here, as you can see, I'm
using the whole preset. So I really wanted the
NDA and instruments to be felt like it
displayed inside a halt. So use that with the
mix almost around 100%. So what I did was I send different percentages
of each and every tax onto these effects
channel so that every instruments will have its own separate percentages
of reverb with it. And here I have used
the EQ after that, so that the frequencies
below to at 2 hz and even about seven K
range is eliminated. So the clarity can be maintained along with
the effects of reverb. In case of delay, I use this delay from behaves. Here I have used this
ping pong preset, and it is done based
on the horse Tempo. So I initiated that. Here also, it is being
used as a send effects. I haven't inserted any
individual instance onto each and every track. So here, as you can see
on the send Section, different percentages are being added for each and every tracks. As you can see here, the
percussion instruments, which has based
information with it, is not being fed onto the delay channel because it can really add
up the entire mix. The frequent, the
instruments which has this mid to high frequency
ranges is being sent. And I think the delay is
being used very sadly. You can't hear it
very, very clearly. But it's there in
the background. It's not a rule or
something like that. When you use a reverb and delay, you can even think
about how the, how the tone has to be heard at, from what distance you can. You really wanted to
hear that instrument. So certain Instruments
has to be indifferent. Certain Instruments has to
go back and in-between. So I have used it to my taste. You can do whatever
you want with it. But in case of this
live settings, make sure that you go
for a very minimal kind of tweaking in terms of mixing
because that authenticity, that real playing
feeling has to be there. So that is the basic
approach when I do the Mixing for these
world music tracks. Here I have used these images to widen up the stereo field. In case of ambient
slacks, I have used it. I have enhanced it. Here for the lead digital. Do I have inserted a
major plug-in onto its group track to just
enhance the in that section. So that is pretty much the basic mixing which I have
done for this track. And make sure that your
entire signal is peaking around minus five dB
or around that area. So that if you go for mastering, you have enough
headroom to play with. So many, you play the most louder area and stuck.
You can see it over here. It's almost be
around minus right? So let's move on to the next
stage, which is mastering
10. Mastering: So now let's move on to
the mastering stage. As you can see here, this is the final output track which have exported from
the mixing session. So as you can see here, we, we're peaking around
minus five dB level. So you need to have one
limiter along with an EQ. So the purpose of the
aqueous to control the frequency spectrum signal, which is the below 36, 30, or even below 40 hz. You're not going to
hear it properly. So you can just eliminate it. Are the frequencies
which happened about 18 K or even 19 gay. You don't want that
those frequencies to be part of this track. And to increase the volume level I am using this
profile to plug-in. So almost 3.5 dB
boost is being given. So with that, it almost be around minus
one, minus one dB. So this is pretty much
the way in which I do the basic Mastering for
these kind of demo tracks. If it is a professional track, I usually give the track to a mastering engineer
so that he will have much more fresher
years than meat. For me, at least,
I think it is not a great idea to do
the Programming, do the Composing
stuff, Programming, Arranging, orchestrating,
mixing, and mastering together. Because it can really affect your perspective
towards this music. So that is pretty much
about the mastering stage. So let's mourn and listen the entire track from
start till the end.
11. Full Track Playback: No
12. Conclusion: So with that, we are winding up this course and I think
it was quite useful for you if you have any
doubt soccer is regarding anything which we have discussed here as
part of this course, feel free to contact me through
my social media handles. If you haven't seen the
earlier three parts of this World Music Series courses, feel free to check it out because it can be
really useful for you. So as part of a new Chords, Let's come together
in the future. Cedar
Mervin Mathew, Musician / Artist / Architect
