Original subtitles

All right.

So the next piece that we're going to jump into is Shine.

This one's really fun.

So this is Vécu, which is kind of this cool vintage GQ,

and I'm affecting the high mids and the high frequencies.

And as as you add these in.

So if you can tell this knob is not directly correlated.

So if you push this, this is this will really change your vocal a lot.

So you want to be careful with this one, which is why if you watch,

I don't have them going a ton, I won't have them going up some.

And as they go up, I've also added a DSR in here

to kind of knock down the S's a little bit because this one,

if you aren't careful, will make your S's really SC For lack of a better term.

So now we're going to come in here, add some high mids

and some high frequencies, give it a little bit of shine.

But jihad airwaves test out the good.

You still going to.

Yeah. We can fix all this, and I want to get it done.

So you're going to listen to that?

Haha.

I got to pick and choose those different moves.

Now it's time to show improve.

Come to look what I'm missing.

Did you think this is who you were on to?

I can t is.

Excuse me.

As you can see, it's catching the S's in t's on their in the DSR.

The next piece is actually not what you think.

So this power knob

is real long here in the order in case we wanted to give it some power here.

But what I recommend is actually coming back to this knob at the very end.

So we're actually going to leave this because this knob.

Think of this as like a parallel compressor,

which is a bunch of things going in or going on inside of it.

But we're going to hold off on that because that can we can get

a little carried away.

First, we're going to just keep getting the vibe of the vocal that we want

and then we'll come back and have the parallel compression.

So the next piece then that we're going to add is reverb.

This is one of my favorite knobs.

So what we're actually doing is we're adding it's a little bit deceiving

because the name is says Reverb, but it's actually a little bit of reverb in delay.

So there's a plate reverb.

There's a true verb with this

is going to be like your long reverb, as long as I have this this reverb cued.

And then I also have this each delay at about a one note, a an eighth note.

And so as you bring these in, these actually don't change themselves.

It's the dry, wet knobs that you're actually affecting.

So you can tell if you crank it up.

I've I've affected them differently so that they go up at different times

because these you don't want these in equal amounts.

And so that's why I've affected them like this, to kind of go up.

I change the ratios so that way because you don't want the same on a plate verb

as you want your long verb.

But it's still nice to have and it kind of, as you say with the delay,

you don't want a super wet delay on this if you want it to be more reverb.

So let's add some reverb to this vocal. You see what I mean?

With Jihad Airwaves test, I think what you still it.

Yeah we can fix all this and I want I want it done too much so you're going.

To listen to that A I got to pick and choose.

You see those different moves?

This is like a bit more Tori Lindsay right here with.

Jihad airwaves test.

I think what you still got?

Yeah.

We can fix all this and I want to get it done.

But you're going to listen to this maybe a little bit more.

Drake, you right in here.

Still some reverb, a little bit flavor, but not too much.

And then the

we're going to jump into the last piece, which is kind of the fun part with

making the vocals wider, digesting them, and then the parallel compression.