Original subtitles

Basically

2 things you need

To have a professional sounding track is

1 is

The music has to be right now you know your Melody structure has to be on point in that

On top of that you know the engineering side pasta

We done right

That's kind of something that's like

Really rare in this industry is to have you know a guy who can

Do off

I I do it because you know I've I've spent 50% of my time learning how to mix

Send how to how to

Do this tonight you know to treat audio in such a way to get it you don't print ready

And there are other guys who just didn't bother learning any of that stuff

And that's there's nothing wrong with that if you're a musician Tina was like I'm audio engineer

I'm debating the Indian case of electronic music

You tend to have to have

To be both

A big

Full track lots of variation I think would probably consist of maybe 62

70

Individual components possibly more in pain sometimes last

But the way that they get

Route it is like ass before so here I have a drum group rights this ultimately the only becomes one

Track but I-81 track that's composed of all these different

Components

Like no your character snare your ride and

Other ride

It all feeds into this one channel so that could ultimately be one track

Confession consisted all these other stuff

I generally have like you don't drums bass and synths and some other

Miscellaneous channels are kind of like my groups

And then those subgroups get all mashed together and then summed

And sent to the master Channel

Which is

Young this guy down here but on another dog might be a channel strip over here but it's all

The same workflow

Will mixing is kind of you know roughly done

You know as you start your your your your mixing you know because if you just start making a melanin you put in a drum

You can immediately know if the kick is too louder to f****** quiet so you just pull it down a bit so I should start to add Elementary

Mixing right then and there because you're like oh I put in the Shaker and it's like

In like a f*** you mean you're pulling it down

That's missing

Mixing it in at a

Comfortable ear balling it as I say inside the level it should be at and then

Keeping an eye on your master before you put any mastering stuff on it to make sure you have enough Headroom

Or that maximization and limiting and cooing and all that stuff in and the general

Rule of thumb ms-60b so

So don't

Don't put a Kick Drum in and then and then turn the kick drum up just so it's like just barely hitting zero you don't want that you wanted

-6

Stevie and then

Everything else because that's how most of these plugins work is they'll take a maximum audio signal

Generally around like you do -6 and then

Do what he needs to do and it'll

It'll plus it a bit you know what I mean but because you had negative 6 on your master you have that Headroom to work within

You're not clipping right off the bat

It's just listening to make sure you're not distorting the crap out of some of these

Plugins

Overloading stopping in and I'm passing that off as all the bull that's a cool sound it's not

You not knowing how to use s*** is not act

Really cool it's just

You don't have to put a channel stripper and EQ on every track I mean it's it's cool to do it just

Yeah in case you want to go in

Goodbye

Sometimes you don't have to like some sense like really just

Producer really bright sound that

Imany

Sometimes too bright that you want to knock

It down a bit or or if it's just bright enough like in terms of like no the top-end frequency like the

The Shimmer of it is

Is just there and it was recorded that way you might not have to touch it you know

Okay sweetie here's one I whipped up the other night

And

What

Kind of the parts that are

In here are like I wanted this really big

Sandflair Batman

You don't having a lot of sense going on and you can't all have

Bees no

It sounds that are like really

Broad

In the in the Spectrum meaning you baby all have a lot of low and they all have a lot of Diana mid

Otherwise you just stacking on crapping

Creating a lot of volume

Not really making anything and makes it

Sansa

So I have no it sounds like $0.01 but it's actually a whole lot

You get rid of this

So here on one of these

I have this one because it was really bright I didn't really have to do too much to the top and I mean I could

Ugly and annoying and I thought it was fun so

But what I did do is I cut the low out

To make room for other loso

If I

Soledad and then take the EQ off your hearing some midlow mid frequencies in there

And that I didn't want because

This is also producing some of that mid

And that's producing some more meds

I'm in

This is handling the sub

So if I had

That playing with that with the

EQ off if you're kind of losing a bit of the care

Character of Abyss Moog sound here

Because

You know that

Low mid to Vicente sky

Conflicting with that so

That be one case where I

Yum

Kind of pipe acid

Tibet in

I cut some of the low out

And then and then it's just stacking but stacking in a way that it's

You know you put the thing in and it made might be intrusive at first but then it's going in any queuing and shaping I think

Compressing until you know it either doesn't mean if it's just the wrong sound

Get rid of it

Yeah so it creates of a full-bodied sound like multiple different sense but without any of them really like

Fighting over each other

The leaves like lead since they usually are

Monophonic voices and meaning that you're only going to have one voice playing at a time that's kind of

Carrying something through the track but you don't

Want it sounding like a

Sitting on top of everything but you do and innocence of the

That's what it is and that's what it does but you do want it to be ducked a bit so that's sitting more in the mix

Supposed to just

Something you laid on top of it

So here we have a

So there is no

The thing I did here with this scent is that I

I kind of cut out some of the low-end and then and then just a tiny bit of the

Poppin cuz was a little too harsh

But

Cutting out the low end

Gets rid of a lot of

You know a lot of this junk that's like

Saab

They don't need

But now to get it to sound in the mix which is like coming in here

Is this compressor right here

Now if I bypass this compressor

You know there's still a little bit of limiting going on in my master but if I disable it

And then turn the whole thing up

Sitting on top of everything but with a compressor

It's going to duck it out on the kick

She can actually see that the volume gain reduction on the kicks

So I'm taking a key from a key input off

Tech

Squashing it down so that way they still punch through on like with this since that it's not like

Too intrusive

Free VMware the type of music I make or I I find myself making

Almost every channel wood

Would ultimately have a compressor at the end of it

Whether it's compressing itself

The or it's it's being side chained by the Kik

Being compressed by the Kik

Kicking this

Amer

Actually I'm because you don't

You mean you want your snare to punch through to that just means

Cake ears

Duck everything else down

As long as there's a compressor

The end of every channel or at the

Top root of a group level like this

Then you should

Be okay with that

Okay here I would have done it because there is

Whole bunch of Base stuff going on that

Actually different sins

Not one cent coin

Baseline

Joshua

A couple of them

EBay scrapright Napoli names

Okay

So I think I have

2

The three or four since basically playing the bass stuff and then what

The Happening

Is all these basenotes

And since

Are going into this channel

What I'm doing this is because I had these

Two different sounds

They're both producing an enemy sound

Limited right there

Well there's actually two things going on when is limiter then some bass enhancement and then and now iPhone

What a compressor does

Delimiter if I take the

Lalla photo alarm

You can hear the limiter going but if I take the limiter on

You know it's a little

Imbalance between the two sensor that that that person noticed way louder in the other one's a little more quieter

So what's happening is it's knocking down the louder one and it's bringing up

Allowing more breathing room for the quieter one so it's making a very

Unified signal so if you

Actually see it on a Vu meter

I'll give it another limiter that displays it but I won't put any limiting

Actually see the

So there's no this

This plugin isn't doing anything you see how uniform that signal is

Now if I take that limiter off

It's all over the f****** place

So

You know you can't really have that when you're trying to mix it all but

So what limiter does is it limits the signal to that DB

Which is -11 wishes

Exactly where it needs to be and it didn't pins everything at that frequency which is a very consistent basis

Sandwiches what I want

Now

What the elephone tool is going to do so now if I

This is adding

This

Now this is bypassing or enabling the the max space which actually should have went before the limiter

I f*** that up

I should have done that actually

Now I have to remaster and re-releases track whoops

Yeah anyway okay

Cinemax Spacemen the limiter to the limiter those last thing you want to do but then I go into this thing to salifu Tool

Now you're going to hear this

The signal pump a bit so if I go and put my monitoring tool right after

You'll see it ramp up and down

And and what that's doing

Is every time that that that is lowest you should probably be hearing a Kik right there

And the LFO tool is is doing that

Simply just buy

She's batshit translate perfectly to the amount of docking what do you know

So what's happening here is this a changing the amplitude of the signal coming in

And in creating a bow compression

Which is one way that you can do with a normal compressor to

I'm so now when I throw my chicken

It's almost like the wrist sound completely different even though it's not it's nothing has

I just inserted a kid

So you can have different and interesting Dynamic to but if I take that LFO tool out now

There's a lot of conflicting b******* going on in there so if you know just as space things out that's

One example of where you'd want it you know

Have multiple sources going into one limiter and then putting a Max Base processor

Or

The f****** limiter

And then going into like

Compressors

Or

Handy dandy

For things like that

LFO tool it's just a

A cheeky way to

Get away with

Sidechaining without a key input because it's just using

I know I saw a low-frequency oscillation which just means it's going to cycle every be

And it's going to duck at those points

So as I adjust that Gap that's the Gap where we don't want to hear the audio as much

And then this would be the attack time

So this is just a

If this does exactly what a compressor does except with no key employed and it doesn't use any fft or

It's not looking at any audio signal

Just

Saying I want the volume to pump in and out

Which for dance music and

You should like that is absolutely

Totally better than using a

Compressor because

Compressors traditionally

Work off of like okay so you want you want to compress a bass guitar against

The guy like an actual Kick Drum

Well every time he hits that

Drum that kick drum sound

Is going to be

Even if

Thank f****** drama every time he hits at the acoustic properties of a drum will not produce

The same kick that

A sampler in a computer will

A sampler will do a one-to-one copy of exactly

Down to the

To the Millicent

Like that the the little samples like everything will be up

141

Perfect

Digital copy whereas a kick drum isn't so

If you're using an acoustic

Type

You know pig or like from a kick drummer

Starting on a desk

Asker or anything like that

That's when you'd want to use a compressor like you know a hardware compressor or arms

Peak compressor because those kicks changes so so the values sometimes change on the employed and then

And the trigger gets triggered differently at higher levels or lower levels of velocity of the hit

Even came to be and that's what they were designed to do because

I'm sure whoever invented the compressor for the use of audio did not foresee

Drummer being able to hit the drum in such a way that it sounded like I did Daniel every time

Did it so they had to account

For you know

Look at hand

And Pete detection in RMS and all and all that stuff so that's what these are all modeled after and that's what they're for

So I don't

Stand

Debbie's dance guys are using them and say yeah you know this compressor it's like you know it's way better than the other one

Look dude it's doing the exact same thing every time that drum heads because of the signal going into it so

Using a niche

Compressor or using a real

SSL g-series compressor on a dance music kick

Makes no fucken sense whatsoever you can do it

But why

I just

Use a an elephant shaper or something like that for that and because

This will actually be more precise

Because this does

Sample accurately

Everything

The exact same way every time it hits is opposed to

You know looking for pizza texting on stuff when only needs one drum

So

On on breakbeats or sampled things that have more than one catch on more if you have more than one

I'm not saying never used

On RMS or

Repeat detection

Compressor ever

By all means use them because on

On bass guitars and in some sense don't always

Play the same note the same way

I'm so that's when those things come into effect but when you're talking about you know using a side chain for a come

Compressor that's when it gets a little

Awkward for dance music

It's 99.9 per cent know how

And

And then the rest is just

Tools

And and those tools like I like I said like these

This pro-al

Is the different flavor of

Basically what comes free with Ableton Live

Which is this

Of course it's better quality it has inter sample peeking and all these little extra do. So you know what I mean it's like

The F20 versus the 488 you know what I mean

It's they're both f****** Ferraris dude you know you going to

Piss and moan because once 20 years older and 1/2 maybe turbos like you know

It's um

This can all be done correctly you know with

F****** minimal amount of software and even last Hardware

You just used once you start learning like that and that's exactly how I did is I started running with this basic

Software then you know

What to look for when you want to get the hardware version of it then it's all about you no nuances and very minor detail

Tell that your average listeners not going to listen to which is why you can have a f******

Kid make a dance hit on a laptop

And then

You know

On the same level have a guy who's been doing it

15 years do it in a 2 million-dollar Studio

And have it sound more or less the same

The average listeners not going to notice the difference

This is now become my work

Thing a passion is opposed to a thing of you know like oh I need to get it done because if that was the f****** case dude

I'll be living on a private island using stock plugins and doing the exact same thing but

Because I like to do it I like to get my hands dirty and I like to experiment with new and different types

Some things even though they all do the same

Fundamentally

Same s***

You know like so

That's what that's all about