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WEBVTT
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at this point of the mix we want to dedicate time
to the vocal mix there's a different techniques
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not necessarily you should do vocal at the
end of the mix for my personal experience
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it's better I like to create a foundation
of the song and have the vocals sit
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on top of the music and I do this regardless
of the style on any style I like to do that
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case of the song the vocals are totally dry so
we're gonna work on reverb and delay let's dive in
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to focus more on the vocal I'm going to literally
take every music element out of the screen
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I just want to I don't want to see
it in doing that I think allow me to
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focus more on the vocal and also there's
no temptation to go and change um the
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music right so if I only see that actually add a
reference and rough I'm gonna take that away too
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so if I only see the vocal I think it's
it's sort of it's a good way let's take that
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see another track that I want to see
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okay let's go finally let's open the vocals we
still have control of the music on the bussing
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but I'm not going to look into the session so
there's nothing there the killer distraction
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notice few things already this one
element very loud in the vocal this
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let's slow it down
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so for now let's mute any vocal element
that is not a lead vocal so it's not fuse
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singing delete parts let me push
the waveform so I can see more
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let's go from
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okay
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let's do some proper compression EQ
let's clean the vocal
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second part here
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what we should do is create a bus
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the way we can optimize the user plug-in it's
called lead delete essentially two stems
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lead vocal there we go and let's start from this
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vocal seems really good I just want to just
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make sure there's no any ringing weird little
points to check that places button and places
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button in places it's a little bit bleeding on
the bottom that we don't need it so place this
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button in place you can do low shelf or you can
do with low cut let's try low cut first place
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new little shelf with the
same type of cut to maybe like 24 db
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so we take the energy away without
cutting entirely
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very nice let's rebuild
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the top end with a nicer EQ so for now we
just
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and now let's compress
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we'll try first we paddle the compression
that way we're not actually affecting 100% of
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the vocal I just want to blend one cool things
you can do with studio one, let's go on folders
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and compressor let's say you want to do
a Tube-Tech you can just throw on the send
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and we'll create a parallel we go
on the vocal now we can put an EQ
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let's say a Mäag EQ4 before the Tube-Tech to
tell the Tube-Tech to type where to compress
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okay for now when you click on the send it
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become yellow it's pre-fader this means I can pull
the fader down we only have compression place is
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burning our place is burning our place is burning
our place is burning our place is burning our
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place is burning our place is burning our place is
burning up gonna go very aggressive and then blend
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with the no compress
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let's push some low mid
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that will trigger even more the compressor
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okay now pull the level down to zero let's go
take away the pre-fader go back to zero here and
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now we're going to blend between the two
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I like it
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let's shave the top end so we are not getting
any type of top frequency before the Tube-Tech
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place is burning our place is burning okay
let's see is burning uh places bunny pretty
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cool does it with the music
let's go four bar
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I think it's very nice to give like a very thick
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tone let's try a few parts
let's go here for example
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so I feel that it's getting thicker
with more control on the bottom
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and improve a lot
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okay I'll keep coming so now we are
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affecting both stems they're going into the
bus the bus has a parallel compression and
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that's the tone that we have on both stems
we want to just before we go into reverb
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see if across the song is anything that doesn't
fit with parellel compression for example here
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I feel both it can go up a
little bit so just do that
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let's go back to the beginning, when I want to control
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two channel with the same level
so the same relationship of level
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instead of creating another bus I can
simply create a VCA channel and I do
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add VCA to select channel now we have one channel
controlling two the great things about the
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VCA they don't affect the level of compression
so even if I pull the level down this is just
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purely level not changing on EQ, compression
or saturation so let's call this VCA lead
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across the song I can do automation
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just on the VCA I do option A on Studio
One and now I'm creating a level automation
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so for example the all intro part
can be way lower you can do that
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and then keep going through the song we can
do this later where we go into the bridge
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and we want to decide to bring it up a little
bit now we can do it and go back into the chorus
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very very fast very easy
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stay on the on the verse I want to treat the
combination of the two at this point I go into
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my vox bus and I want to use a little bit of top
end and I'm going to do the color eq for that
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just to bring a little bit of
the shine on the 15k like a fire
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there you go maybe the preamp will help even more
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right so now we're going to
talk about reverb but before that let's A and B
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place is burning up burning up love it let's
talk about time-based effect reverb and delay
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so I want to just do one general
reverb across everything on the vocal
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and then eventually a little
bit automation later so let's do
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on both so equally the way I created the
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parallel compression I'm going to do the same
with the Valhalla throw this here now creating
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reverb let's give a different
color that's the reverb send
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and with this we're gonna go on vocal two
the way is not being treated so if you go
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the vocal it's lead vocal two is dedicated
to background vocal doubles reverse all that
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we definitely should do side chain reverb
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very useful to keep the the
vocal clear easy to understand so
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what we do we take the lead vocal as a
side chain there we go assign to external
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so what we try to do
is the vocal it's on the reverb it's off
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the vocal it's off the reverb is on, so
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so when we stop the vocal the reverb will come up now to give some consistent reverb
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we'll do a little bit of parallel but then we're
going to have a jump of reverb when the vocals
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stop let's take two parts just to get used to so
let's do that two bars
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four to one
ratio sorry classic
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now let's blend some dry
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I like it let's color a little bit
of reverb it's a little bit too clean
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let's do some coloration to the reason let's
look at the noise the wobble the little distortion
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a little bit too much so let's
lower a little bit there we go
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okay let's go on the chorus
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I'll keep coming back forever you and I anyway
very nice I feel the still misses some thickness
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but that's on the overall vocal so not on the
reverb so we're gonna do the combination of the two
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will benefit of some 120. back me up it's
such a pleasure body falls like a treasure
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very great so now we want to add some delay
strategically when the vocal goes one octave
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higher we're very effective so we're going
to take this part this part and this part
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this is the Echo Boy Junior for that I'm gonna
throw on the track and then create some automation
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i want to do a quarter low cut
I cut so sit on the mid range
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I'll keep coming back if I push some saturation on
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studio tape it's really good pleasure body falls
like a treasure if we click on mixing up once
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and then option+a now we create an automation
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so what we can do essentially is outside of
the chorus cut the delay entirely so we go here
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so we essentially adding with the mix
knob just on the chorus let me go here
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essentially it's everywhere minus
those intro seems everything
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well we have no information there but just to
make sure also visually we know we're doing
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is this are we going to the bridge
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so Echo Boy is being applied only
on the chorus we keep the the rest with
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the normal reverb with automations now that we
have delete vocal between compression EQ reverb
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and delay I want to look into the background
vocals see what really makes sense to keep
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let's open everything that we have
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let's close the mixer for a second
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we're not going to reinvent the mix
the producer made a lot of decisions
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we just want to check if this
anything doesn't feel right
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so this part let's check this
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is actually a really cool part and
I feel it's almost lost into the mix
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let's make some auto panning that will work really well let's do that
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et's bring the mid-range
up it's really cool
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let's use the same Valhalla reverb
for that
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very nice let's cut all the top and bottom
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like that
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feelings very nice we have a second layer here
it's loud enough duplicate that completely spread
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make left and right get rid of almost everything
about the mono just keep on the side feelings
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sounds great
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very cool let's go on the on this part
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okay
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usually when I have stack of doubles
or background vocal if I feel they're
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put together well I need more compression just
bring and glue with that with the lead what I do
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I kind of select those create a dedicated bus it's
called background in this I do heavy compression
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we will do R-Vox. R-Vox is kind of like a
LA-2A emulation from waves in some way
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okay let's blend your level
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definitely works now if you're green a little bit
of top end well sounds even better do the 20.
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absolutely works let's see very nice we have
another part here let's find out what it is
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I want to make it blue of course
let's go back to pink there you go
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very nice
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tough one when I have this type of scenario
when I have two layers like this I want to
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give a specific space into the mix so if we will
for example let's do almost right almost left
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oh don't you like you miss me think
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okay I want to blend the same type of
compression that we add on others so let's go
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here so the background let's put these two vocals
under the same treatment on the background so
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I'm gonna change the busing to background so
we'll benefit from this type of compression
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there we go,
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now we're simply gonna lower and that's the amount
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of compression they're gonna bring in think
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just to remember the way it
was before okay let's go
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very nice
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all right let's take a kind
of like a big picture approach
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on what we add and the way I do it I just like
jump between the tracks really quick let's go here
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overall too loud let's just bring
the level down a little bit about 3db
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verse
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feels good
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very nice the last part I want to do is a
different vocal there's a different tone this part
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and everything that you said I just simply want
to cut this part and just simply separate the part
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and just do a little bit different approach with
maybe saturation
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and
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when he goes to so many times we go back
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right there so here I was gonna go back
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so I'm gonna treat that part
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just do that
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very nice so just
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give a little bit of like more like a tube
tone
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just as a little thing is just a
different delay just for that part
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let's see how it works
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I like it so let's see
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just a little bit too
loud so let's lower that a little bit
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maybe 3db and everything is very nice, very cool
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well guys I think we have the the overall like
vocal mix done on this what I do now I just
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go bring back everything else on the session we get to the point that we're getting very
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close to mastering so at this point in the mix
I take a break maybe take one hour break detach
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myself forget that I was the mixing engineer
on the track and come back as a master engineer
16439
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