Lesson Info
15. Finalizing the Mix & Q&A
Lessons
Class Introduction
07:14 2Analyzing the Song and Preparing the Stems
27:43 3Constraining Scale: Kontakt and Massive Inside Patch
23:36 4Setting up the Bassline
12:21 5Creating Different Bassline Options
26:23 6Creating a Sub Bassline & Using Dump Score Log
12:31 7Adding Vocal Stems
26:09 8Routing & Using a Peak Controller
28:52Lesson Info
Finalizing the Mix & Q&A
So the last like literally the last thing that that I did was me go back over here. So I did decide at the very end to actually remove this vocal because I had was having problems with a little later copy of this but basically I just copied this from daisy, so I brought these pieces from the end and brought them to the beginning. Um and I went through each track again and made sure that everything was routed to its own channel. Um and that each of those channels there was nothing overloading that channel so that it's not distorting more, you know, everything is the is gain staged um for the most part, it does that straight through the hole. It's me, let me open up a later version of that towards the end. Yes, it's loading. How off her, how much time do you usually take once you're pretty much finished with the composition doing those final tweaks of the q and the leveling of the mastering and all that like, you know, I try not to I mean, if I did it right, I know I shouldn't really hav...
e tio do a ton of it, you know? I mean, um basically, you know, it does those final tweaks and really end up happening after I have exported it may be brought it in my car listen to it home played it for a couple of people like you got some honest opinions and then you know take notes and but at this point it's really just sort of like just fine tuning you know a lot of the times what I find myself I end up doing is like I have tends to produce with my kick drum maybe a little bit quieter then it needs to be and then they're gonna try to play it in a club and it's just doesn't you know hold up toe other music so then I'll go in and do some some work on the kick drum to get it to stand out a little bit more um one thing that I might end up doing a cz move these these guys actually that's not what I meant to do you have to reload that see there are some things they're just not undoable nfl studio and I just did one of them I'll show you there's one plug in that I use a lot for finalizing the final stage of the mix um I didn't have to do it in this particular makes I mean it really it really came out sounding I was pretty happy with the way it end up sounding but um the ah nfl studio you can get a plug in for f l studio from image line called maximus on dh it's basically down this down damn it! So um put a parametric e q here on dh then maximo strike here I find myself using this on kick drums quite a bit um it's a it's a multi bands kind of compressor wave shaper type of plug in on dh so you have one you have like three different bands that you can compress wave shape and then you have your master can also these three goes into the master channel and you each channel you have, you know control over whether it's playing a meeting you can adjust the cross overs of those channels so like they want to solo loathe drama and have it only playing through this one channel I could do that it is so the mids the highs so whatever I end up doing is, um adjusting low band to where I'm just getting the lowest of the lows on dh adjust the midst where I'm only hearing the lids on lies only hearing the finest part of the highest right and then um un solo everything so I'm hearing it all together and then all so this basically it's hard to explain how this works basically left to right is the amount of of time on dh thie this controls the amount of compression that's happening over that period of time sort of um you can get some really wild results out of it like so um what all what I find myself doing is you know, is creating a little bit of a bump so that the super lows get you know, compressed a little bit harder maybe I'll have that happen a little bit more the highest because I find that the definition and the kick drums a lot of times that resides in the high end andi that's about it you know, like you know get a little bit of a harsher kick if the highs have too much ring it's easy to adjust that to just by adding another node here and then reducing this and you get a shorter you have a lot of control over the overall sound yeah, like I said it in this particular track I didn't really have to do a whole lot of uh major finalising yeah the um I think the one thing that really um that stood out to me and I played it for my wife and she was like, you know, his vocals really sound kind of dry like well, yeah, I guess that's because I need this this plum ian's d s everything and put it on all the vocals and so I ended up just a meeting them so that it had the original processing the vocals and that seemed to do the trick um yeah, you know, all in all this is, uh is this turned out being a relatively simple project I don't really have a ton of river bs happening here not a ton of effects um yeah cool we have two two good questions one is do you always remix on monitors using studio monitors or do you sometimes use headphones and what's your preference? Um I prefer headphones actually okay, yeah I'm almost always using I used the sony mdr seven five o six head funds um I've been using them for I don't know like fifteen, twenty years or something like that and you mean they go for eighty bucks you get a guitar center um I just feel like they they offer like a nice you know line don't enhance or you know, they don't have the base too much and that but they don't sound dull on canny or anything like that they're comfortable um but there has to be a balance not just in the headphones I mean for creating, you know, a track. Yeah, it feels comfortable for me to keep my headphones on. I can hear the definition in the river bs, which is important sometimes that doesn't come through well using studio monitors um and uh yeah, so it's like, you know, there's the leader of the definition and the river bs and you know all the little subtle nuances but it's not the end all like sometimes want to produce something with headphones on I'll take them off and then listen to him in the speakers and compare it um against a final produced track that someone else did or whatever it doesn't sound it didn't have the same kind of balance so that I'll have to adjust it isn't the monitors and then I'll exported and played on you know top top speakers and I played on everything played in a nightclub um because it's there's every time I play a track on a different pair of speakers I get kind of different results even in this room I mean this song to me it sounds almost completely different from the way it did when I was producing it at my own studio even listening to it in my headphones so there has to be like a balance with with all types of speakers awesome. Yeah mark wants to know hey dave, where do you find good or where is a good place to find stems or our capellas very mixes is there a good source for that? Um I believe be port sells them are you? They give them away for like people for like contests and stuff on but there was another web site that I saw where it's just like just contest after contest after contest where you can go and download these stems um if you go on google and just type in remix contest you'll find a way more than you'll know what to do with there's always a remix contest awesome yeah yeah cool we'll get can we compare the original on renick yeah this is really a b it let's go to see where we ended up yeah yeah totally so let's jump into the final recording so this is where we started with I want to say just um and then here's thea remix I ended up with seven ways wait wait teo wait wait wait so you can see me and me see wait there we go that's it is it now everybody's a proud yeah now you know now you know I'm out of a job okay well your secret so thanks so much for uh for being here and sharing all your knowledge this has been awesome to have you thanks for having me yes is this was amazing yeah well very cool it's been a fantastic day and it takes a lot to make these classes happening to put these courses together so we have some thank you's we're really grateful to a number of people at the creative live company as well as other companies that have helped us out and one in particular is dance music northwest we're grateful through them for helping promote this course in addition to dance music northwest we're grateful teo the creative live audience each of you watching the course. Thanks so much for participating. Jumping in the chat rooms as well as creative live crew. We have a whole bunch of really talented people behind the scenes making this happen in the booth and producers and ryan, just so many people that work really hard. Tio put these things together, grateful to them. A cz well is the live in studio audience. Thank you to both of you for being here today, it's been our pleasure to have you and welcome back to any courses that are coming up to, um and finally to you did. Thanks for bringing all of your twenty yearsworth of knowledge and experience and just putting it together in a meaningful way and showing us really how you make your living. And, uh, what's brought you so much success doing what you do. We really appreciate it's always cool to see your workflow and, uh, how you think about what you do know, courts wrote awesome, sharing it with you guys. Yeah, absolutely.
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