All language subtitles for 2. Mid-side processing, shelving, flanging, modulation, frequency carving, saturation, risers_EN

These are some really great guitar parts
that I had pulled up

from a Kontakt sample library.

And I just wanted to
give a little bit of a feeling...

...that sh*t's going down.

Here we go. Here's some more.

It looks like here, it's
just a bunch of different...

...guitar samples just adding textures.

I decided to treat this on a Group Bus
because they're all very similar.

Let's take a look at what's up.

I remember using this plug-in
from Denise, The Sweeper.

I love it.

It filters out at the top end
or the low end or whatever you want,

and it does it based off of
the amplitude of the input of the audio.

And as you can see, we're getting
the high end at the initial peaks

and it's slowly smoothing out.

I found that this really helped
in creating this sound.

Super lo-fi I suppose.

It just makes it feel like
it's in the back, it's moving.

I followed it up with a plug-in called
SketchCassette but it no longer works

on the new version of Ableton.

I imagine I was probably
doing some cool stuff on there.

I followed this up with
a plug-in called Blend.

It's a multi-voice chorus from
a great company called SineVibes.

Check this out now.

Beautiful plug-in.

I use another one from them.

It's just keeping things moving.

I just messed with this
until it sounded good.

It's really just that simple, y'all.

I wanted to kind of get
a little bit more movement in there.

I followed this up with a plug-in from
Waves called Center where I remove 6 dB

from the center channel.

I love doing this because I find
a lot of times there's too much content

in the center and I've always
been... and I love stereo

and I love just creating sounds
that just feel like you're somewhere else.

There are only so many elements
that need to be in the center, right?

Those are the most important ones.

And a background textural
guitar thing that's moving

doesn't need to be in the center.

That needs to be moving on the stereo
on the left and the right.

We don't need too much content in
the center channel so this really helps.

And then I follow this up
with the standard FabFilter Pro-Q 3

doing a hard shelf, 96 dB/oct
because why not?

We have the technology.

And this on the top end
just to smooth it out.

Again, you want everything to have its
space in the entire frequency spectrum.

It's really important that y'all get into
the habit of carving things out.

It makes your life so much easier.

Trust me.

Here we got the 808 that gets introduced.

I use SubLab on this part.

It's a great plug-in.

I'm sure I messed with it a lot.

But as you can see, we got that nice hit.

We got the accents
when they need to have the accents.

Let's see what this sound is here.

And it looks like I just added a layer
just to help to find the chordal movement.

If we go back on this 808 real quick,
let me show y'all something.

Standard CLIP, Soft Clip Pro
as the mode, Saturator.

I just wanted to have that feeling
that it was almost distorting

without actually distorting.

I achieved that with this plug-in.

I'm going to loop this.

We got a patch from Omnisphere here.

Let's open it up.

Follow this up with Ohmicide.

Just want it to be really up front.

And I followed this up
with some more stuff.

So I got a little Audio Effect Rack here.

We got the dry signal and we got the FX1.

Looks like I used Valhalla Delay,
quarter note, Feedback.

You just want it to sound...

Next up, let's focus on this sound.

Let's see what it is.

As we can see here,
we got the Q-3 cleaning up.

We got Utility here.

I use this to bring up from -12 dB to 0.

Now, something to keep in mind,
every 12 dB

you're hearing back is reduced by half.

If I remember this right,
this is the way that the math goes,

but every 12 dB, whatever you're
listening to, if you reduce it by 12

or if you increase it by 12,
you're doubling what you hear.

I love using numbers that fall within that
so anything like 3, 6, 9, 12, 24, 36, 48,

whatever, there's something special about
using those numbers

or those multiples of numbers.

Those are great starting places anyways
because at the end of the day,

you got to move it where it needs to be
to feel right, but I just wanted to share

that little bit of math with y'all.

This is just used as a riser really,
and you are just building this energy

that we're about to go
into this next section.

Let's see what happens.

Crazy.

All right.

Let's get to this
last little section here.

Let's see what's up. Let's loop it.

Let's start with this group.

So it looks like I put two in here.

I did one hard left, one hard right.

I did two here.

I did one hard left and one hard right,
and the idea is just to further build

the cinematics of what's happening,
what's building.

So let's see what this
bottom track is doing.

Beautiful.

Let's see what this track is.

So again, just a bunch of textural
melodics just helping build,

creating the tension, creating the scene.

We must bring up the most important
sounds in this section.

It's this low bass.

Okay, so unfortunately, I froze it.

But we got a little bit... we can see
a little bit of what's going on here.

I threw RBass on it.

I wanted more.

I got it from RBass.

It's that simple.

I just wanted more.

More of what?

Of this. You hear that?

I just wanted that specific thing to hit.

So now you dial that back a little bit.

I think this was at -9.

So this is also followed up.

96 dB/oct, I'm cutting it at 30 Hz.

You want to save as much as you can,
as much as you can.

And again, a Virtual Channel at the end,
and again, we got some automation here

at the very end to cut.

So let's hear this.

Let me run through one more thing here
before we jump into the vocals.

So as you can see here on the Master Bus,
if we take off this Effect Rack...

There's nothing wrong with it.

It sounds great, but I wanted more.

So I just added this reverb
on the Master track

before all of the Master Bus sauce.

And I'm using Utility to feed the moment
when it's ready to feed into the reverb.

And as we can see, this looks like
it was on the second half.

It's hitting this reverb
from Native Instruments.

And as it's going,
we're allowed to hear it.

This Utility that's following it
is wide open.

We want it clean.

Right there, we want it off.

We don't want this trailing because it
dirties up the second half of the song

so we wanted that hard cut.