Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:00,116 --> 00:00:01,766
Mixing beats can be time-consuming.
2
00:00:02,000 --> 00:00:04,183
You're wasting more time on mixing than
3
00:00:04,183 --> 00:00:06,216
on actually composing the beat. When an
4
00:00:06,216 --> 00:00:08,266
artist buys your beat, it means they like
5
00:00:08,266 --> 00:00:10,133
it for the melodies, the arrangement, the
6
00:00:10,133 --> 00:00:12,500
drums. Try to leave the mixing more for
7
00:00:12,500 --> 00:00:14,166
the mixing engineer that the artist is
8
00:00:14,166 --> 00:00:15,983
gonna work with and focus more on
9
00:00:15,983 --> 00:00:17,883
actually creating the beat. But on the
10
00:00:17,883 --> 00:00:19,166
other hand, you need to make sure your
11
00:00:19,166 --> 00:00:21,066
beats sound hard, loud and most
12
00:00:21,066 --> 00:00:23,600
importantly, balanced. And that's exactly
13
00:00:23,600 --> 00:00:25,466
what you'll learn today. Leveling or
14
00:00:25,466 --> 00:00:27,216
balancing the mix. Before you do that,
15
00:00:27,216 --> 00:00:29,466
you need to understand signal flow. It's
16
00:00:29,466 --> 00:00:31,633
the way that the audio flows through FL
17
00:00:31,633 --> 00:00:33,483
Studio. It starts with a pattern in the
18
00:00:33,483 --> 00:00:35,083
channel rack, then you'll assign that
19
00:00:35,083 --> 00:00:37,083
pattern to a mixer track and then in the
20
00:00:37,083 --> 00:00:38,883
mixer, the sound will go through the
21
00:00:38,883 --> 00:00:41,033
effects rack. Then it travels to the
22
00:00:41,033 --> 00:00:43,183
fader and from here, it will flow to the
23
00:00:43,183 --> 00:00:45,416
master. So, when you adjust the volume in
24
00:00:45,416 --> 00:00:47,200
the channel rack, you're adjusting it
25
00:00:47,200 --> 00:00:49,166
before the effects are applied. That's
26
00:00:49,166 --> 00:00:51,216
why in most cases, it's better to use the
27
00:00:51,216 --> 00:00:53,000
faders for leveling instead. The only
28
00:00:53,000 --> 00:00:54,566
thing you need to make sure of is that
29
00:00:54,566 --> 00:00:56,799
the sound isn't too loud or clipping when
30
00:00:56,799 --> 00:00:58,483
it's going to a mixer track. In that
31
00:00:58,483 --> 00:00:59,866
case, you can turn it down a little bit
32
00:00:59,866 --> 00:01:01,916
in the channel rack. However, I actually
33
00:01:01,916 --> 00:01:03,883
use these knobs when I'm creating the
34
00:01:03,883 --> 00:01:05,533
beat, you know, to quickly level the
35
00:01:05,533 --> 00:01:07,783
sounds. But once I start mixing, I reset
36
00:01:07,783 --> 00:01:09,683
all the volumes and you can simply do
37
00:01:09,683 --> 00:01:11,366
that by holding Alt and clicking them.
38
00:01:11,599 --> 00:01:13,583
And there you go, that's signal flow. Oh,
39
00:01:13,583 --> 00:01:15,466
and by the way, to send all of these to a
40
00:01:15,466 --> 00:01:17,333
mixer track at once, select them like
41
00:01:17,333 --> 00:01:19,133
this and hit Ctrl L on your keyboard.
42
00:01:19,516 --> 00:01:21,166
Quick shortcut. And now, let's get to
43
00:01:21,166 --> 00:01:23,299
actually leveling the sounds. Disable all
44
00:01:23,299 --> 00:01:24,916
the mixer tracks and start with the
45
00:01:24,916 --> 00:01:26,483
melody. Or you can just right click the
46
00:01:26,483 --> 00:01:28,316
melody track. Most of the time with beats
47
00:01:28,316 --> 00:01:29,316
like these, I like it
48
00:01:29,316 --> 00:01:31,766
around 10 to 16 decibels.
49
00:01:38,099 --> 00:01:39,533
Take this with a grain of salt because
50
00:01:39,533 --> 00:01:41,183
it's different for every beat, every
51
00:01:41,183 --> 00:01:42,966
melody and especially when you're making
52
00:01:42,966 --> 00:01:44,766
other genres. Same thing for the other
53
00:01:44,766 --> 00:01:46,599
instruments. Now in trap and hip hop, the
54
00:01:46,599 --> 00:01:49,133
kick, 808 snare are usually the loudest
55
00:01:49,133 --> 00:01:51,133
bars. Again, this can vary, but I really
56
00:01:51,133 --> 00:01:52,716
want my kick to punch through. You know
57
00:01:52,716 --> 00:01:54,200
what? More tricks on that later. But
58
00:01:54,200 --> 00:01:55,783
first, make sure it already punches
59
00:01:55,783 --> 00:01:58,033
through the mix by balancing it.
60
00:02:15,116 --> 00:02:16,816
Another thing that will really help with
61
00:02:16,816 --> 00:02:18,483
that is spreading out elements that are
62
00:02:18,483 --> 00:02:20,199
living in the mid to high frequency
63
00:02:20,199 --> 00:02:22,016
range. You know, to create more space.
64
00:02:22,266 --> 00:02:23,766
For that, you can use the panner. This
65
00:02:23,766 --> 00:02:25,683
will move the sound to the left or right.
66
00:02:29,550 --> 00:02:30,666
Because you're spreading out these
67
00:02:30,666 --> 00:02:32,400
elements, it will create more room in the
68
00:02:32,400 --> 00:02:34,416
center of your beat. So, imagine your mix
69
00:02:34,416 --> 00:02:36,033
is done. You play it back and it sounds
70
00:02:36,033 --> 00:02:38,166
awesome. But then to check the mix, you
71
00:02:38,166 --> 00:02:39,716
play it in your car. And suddenly
72
00:02:39,716 --> 00:02:41,900
everything sounds muddy. So you try it on
73
00:02:41,900 --> 00:02:44,099
some earpods. And now it sounds way too
74
00:02:44,099 --> 00:02:46,266
sharp. Believe me, I can relate. Which is
75
00:02:46,266 --> 00:02:48,383
why the next trick absolutely changed my
76
00:02:48,383 --> 00:02:50,466
life. Guys, calibrate your headphones and
77
00:02:50,466 --> 00:02:52,816
speakers. Ever since I did this, my mixes
78
00:02:52,816 --> 00:02:54,783
sound great everywhere. On phones,
79
00:02:55,099 --> 00:02:57,500
MacBooks, speakers, cars, everything. The
80
00:02:57,500 --> 00:02:59,466
tool I use for that is called SoundID
81
00:02:59,466 --> 00:03:01,683
Reference. It ensures perfect translation
82
00:03:01,683 --> 00:03:03,583
so that you can create music that sounds
83
00:03:03,583 --> 00:03:05,833
great everywhere. But how does it work?
84
00:03:05,833 --> 00:03:07,266
It basically measures the frequency
85
00:03:07,266 --> 00:03:09,716
response of your room and speakers. Then
86
00:03:09,716 --> 00:03:11,533
with that information, it will create a
87
00:03:11,533 --> 00:03:13,566
calibration profile. For headphones, all
88
00:03:13,566 --> 00:03:15,199
you need to do is find your compatible
89
00:03:15,199 --> 00:03:17,283
headphone and it will apply a premake
90
00:03:17,283 --> 00:03:19,583
profile to it. The application comes as a
91
00:03:19,583 --> 00:03:22,000
standalone or as a plugin inside FL. If
92
00:03:22,000 --> 00:03:23,533
you want to calibrate your speakers, make
93
00:03:23,533 --> 00:03:25,533
sure to use the SoundID Reference
94
00:03:25,533 --> 00:03:27,500
microphone. You can actually use any
95
00:03:27,500 --> 00:03:29,066
measurement mic as long as it has
96
00:03:29,066 --> 00:03:31,216
omnidirectional capability. Then all you
97
00:03:31,216 --> 00:03:32,816
need to do is start this setup. It's
98
00:03:32,816 --> 00:03:34,583
incredibly easy. Just follow the steps
99
00:03:34,583 --> 00:03:36,316
and once you're done, your calibration
100
00:03:36,316 --> 00:03:38,316
profile will be ready and you can apply
101
00:03:38,316 --> 00:03:39,933
it to your speakers. Now with the toggle
102
00:03:39,933 --> 00:03:41,483
on the bottom right, you can turn the
103
00:03:41,483 --> 00:03:43,500
calibration on or off. Then the custom
104
00:03:43,500 --> 00:03:45,283
target feature allows you to create
105
00:03:45,283 --> 00:03:47,266
adjustments to your calibration curve.
106
00:03:47,300 --> 00:03:49,116
Let's say you only want the lows to be
107
00:03:49,116 --> 00:03:50,766
calibrated. Then just make that
108
00:03:50,766 --> 00:03:52,783
selection. The thing I love most about
109
00:03:52,783 --> 00:03:54,599
this app is that you can simulate how
110
00:03:54,599 --> 00:03:56,333
your mix will sound in other locations.
111
00:03:56,566 --> 00:03:58,900
Such as your car, headphones, laptop or
112
00:03:58,900 --> 00:04:05,733
your smartphone. (Music)
113
00:04:17,199 --> 00:04:18,883
Thanks to SoundID Reference, I can
114
00:04:18,883 --> 00:04:20,983
finally trust my mixes. So guys,
115
00:04:20,983 --> 00:04:22,466
definitely take advantage of this. You
116
00:04:22,466 --> 00:04:24,666
can try it out for 21 days completely for
117
00:04:24,666 --> 00:04:26,716
free. Go check it out down below. Next
118
00:04:26,716 --> 00:04:28,266
trick, sometimes your mix is still a
119
00:04:28,266 --> 00:04:30,016
little muddy. Try turning the kick and
120
00:04:30,016 --> 00:04:32,300
808 to mono. That will put it exactly in
121
00:04:32,300 --> 00:04:34,283
the center, so it won't interfere with
122
00:04:34,283 --> 00:04:35,916
the sounds at the side. You can also
123
00:04:35,916 --> 00:04:38,300
split the 808 into three parts. The lows,
124
00:04:38,666 --> 00:04:40,566
the mids and the highs. That way you can
125
00:04:40,566 --> 00:04:42,666
put the lows in mono without touching the
126
00:04:42,666 --> 00:04:44,183
mids and the highs. You can even play
127
00:04:44,183 --> 00:04:45,416
with some effects on the higher
128
00:04:45,416 --> 00:04:47,766
frequencies to make your 808 more unique.
129
00:04:47,766 --> 00:04:49,433
But that's a topic for another video, so
130
00:04:49,433 --> 00:04:50,616
let me know if you want to hear about
131
00:04:50,616 --> 00:04:52,433
that. The next one is a trick you should
132
00:04:52,433 --> 00:04:54,333
already know by now. Here you can see an
133
00:04:54,333 --> 00:04:56,483
EQ on the melody and another EQ on the
134
00:04:56,483 --> 00:04:58,600
808. It sounds okay, but the lows of the
135
00:04:58,600 --> 00:05:00,600
melody are taking up space for the 808.
136
00:05:06,666 --> 00:05:08,300
They aren't really important because we
137
00:05:08,300 --> 00:05:10,233
only want the 808 to punch in the low
138
00:05:10,233 --> 00:05:12,266
end. To fix that, simply cut away the
139
00:05:12,266 --> 00:05:14,133
lows of the melody. Make sure you don't
140
00:05:14,133 --> 00:05:15,733
cut off too much because that will kill
141
00:05:15,733 --> 00:05:17,433
the body of the melody. Now if you're
142
00:05:17,433 --> 00:05:19,433
using an 808 and kick together, you might
143
00:05:19,433 --> 00:05:21,533
want to sidechain them. But how do you do
144
00:05:21,533 --> 00:05:23,383
it? When you sidechain a kick to an 808,
145
00:05:23,666 --> 00:05:25,483
the 808 will duck every time the kick
146
00:05:25,483 --> 00:05:26,933
plays. This will make sure the kick
147
00:05:26,933 --> 00:05:28,600
punches through. Now how do you do this?
148
00:05:28,600 --> 00:05:30,233
It's pretty simple. Make sure your kick
149
00:05:30,233 --> 00:05:32,399
and 808 are sent to a mixer track. Then
150
00:05:32,399 --> 00:05:34,466
select the kick, go to the 808 mixer and
151
00:05:34,466 --> 00:05:35,933
right click on the button below the
152
00:05:35,933 --> 00:05:37,899
fader. Select sidechain to this track.
153
00:05:38,133 --> 00:05:40,233
Then select the 808 mixer and go to the
154
00:05:40,233 --> 00:05:42,283
effects rack. Find the Fruity limiter.
155
00:05:42,283 --> 00:05:43,716
Once it's open, head over to the
156
00:05:43,716 --> 00:05:45,683
compressor. In the sidechain menu, select
157
00:05:45,683 --> 00:05:47,616
your kick. Now go to the threshold knob
158
00:05:47,616 --> 00:05:49,316
and turn it all the way to the left. Turn
159
00:05:49,316 --> 00:05:50,983
the ratio all the way to the right and
160
00:05:50,983 --> 00:05:52,983
increase the attack. Decrease the release
161
00:05:52,983 --> 00:05:54,699
just a little bit. And now you can hear
162
00:05:54,699 --> 00:05:56,399
the kick pumping through the 808. But
163
00:05:56,399 --> 00:05:57,683
this is way too intense.
164
00:06:01,516 --> 00:06:03,016
To fix that, increase the threshold
165
00:06:03,016 --> 00:06:04,783
again. That will already sound better.
166
00:06:04,783 --> 00:06:06,316
Next you want to tweak the sidechain with
167
00:06:06,316 --> 00:06:07,516
the attack and release knobs.
168
00:06:11,883 --> 00:06:13,516
That sounds awesome. But if you want to
169
00:06:13,516 --> 00:06:14,866
have some free plugins that will make
170
00:06:14,866 --> 00:06:16,816
your beats even better, go check it out
171
00:06:16,816 --> 00:06:18,616
right here. You'll be happy. I'll
172
00:06:18,616 --> 00:06:20,233
guarantee you. Goodbye.
13425
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.