Original subtitles

Welcome back to the studio ladies and

gentlemen it's your boy Chris Beat the

drummer boy and today I want to show you

how I mix the major elements in my drums

this is not to walk you through the full

mix but this is just to show you one or

two things that you will see me do that

you can also apply in your own case

remember all mixes are not the same but

you can use something definitely from

this to help you improve yours and most

of this thing as I'm creating the beat

I'm doing them and I will like I said I

will move it out of my beat session into

a mix session but yeah with that said

let's get straight into the video.(...)

Welcome back ladies and gentlemen yes

remember the Chris Beat Music Academy is

on right now and you can click to join

either the advanced intermediate or the

beginner class where we walk you through

everything that you need to know in music

production and how you can also monetize

your talent as a producer or as a

musician so we also have extra courses

that we offer which is the ability for

you to learn just mixing and without

going through the full class or just

recording without going through the full

class and either one you are doing you

also get one-on-one live feedback session

with me every weekend if your class is

having that and without out of the way we

can always you can always check out your

mix based on how you create the

instrumental so when I'm trying to create

instrumental I don't like to think of

what my mix will sound like I like to

think of how best I can create the

instrumental to sound as best as possible

as best as I want it to sound so I'm not

concerning myself about oh how do this

this frequency no none of that not one

beat it never crosses my mind I do the

beat like someone else who have to deal

with that headache I just work on how I

want the music to sound everything the

same thing when I'm recording I record

like I don't know who is going to arrange

it but I try to get it as best if I can

get it to sound best in my place then any

engineer with enough sense should be able

to if I slap you this is that mosquito or

what any engineer that should be any

engineer with the enough sense should be

able to get it to the place where I or

the musicians or anybody intended to get

it into so yes we'll be looking at first

the kick so let's look at the major thing

that makes an afrobeat record the kick

the snare the bass you know when I mean

the snare I'm talking about the

precautions and everything so let's just

walk through what I did in this case so

let's listen to what the beat sounds like

here you can hear that is a normal

afrobeat bounce with aggressive bass that

is this mind you this is not mastered

when we're going into mastering is where

we get that craziness out of this so

let's see what I have going on um first

is the kick so the kick so the way I like

to process my drum is I have a drum boss

and all the boss uh the drum will now go

into an all instrumental boss which is a

boss in a boss so uh you have the all

drum box all all music boss all

percussion boss go into drum boss okay

you can see here drum boss all then I

have instrumental boss so this is kick

yeah let's see what I have on the kick

remember gain staging is the most

important thing in mix that is how you

deal with your internal bleeding through

I always say this bleeding because that's

how um we thought uh gain staging to our

students at cruise beat music academy is

internal bleeding when something is

bleeding inside and you see the person

and the person is fine you don't know on

series that's showing on the vein that's

oh this person is actually until it

starts showing on the skin(...) with the

redness on the skin so that is how we

kind of like uh broke it down and we did

the experiment it was always it was fun

to be honest for the people doing the

one-on-one life feedback class I'm sure

you were able to get it because it's like

you were with me in the studio so yes the

the kick I first added an utility gain

taking down a right amount of gain

reduction on you know that before going

into if I turn it off

you'll be able to hear how

you get you see the ways

over walking the compressor

then next I have an EQ that is just

taking out a few few

things here and there

taking out this guy here

and then this guy here(...) just some

resonant frequency nothing too major

maybe minus one minus one there

everywhere minus one so two so two

differences that can make a large

difference let me turn it off let me turn

let me turn everything off let me show

you where we're going to yeah you can see

not not a massive boost of EQ you see

that it brings out everything every every

every other elements the body the low the

ones that is that we can't really hear

you know detail parts it brings it out

more while also taming the the transient

then this I can yes yes

sounds good then into 1176

yes this is allowing it to sound more

like a kick that is not so boomy you know

keeping it compact then the uad protect

just to boost a little bit of that low

end that we took out

a little bit then one of my favorite

plug-ins to use on a kick is

this drum shaper by X and L

also removing that removing that initial

transients because when you're trying to

get the track to be as loud as possible

all these transients will add to what

will affect you can already see by

looking at this with your eye while

already hitting almost the zero so which

is what this did for us in the first

place I could have come here and also do

it by bringing it down like this but yeah

I just like to do it this way sometimes

so I don't start walking or mixing by

what I can see and while also using soft

clipping so soft clipping allows us to be

able to get a perceived loudness without

passing a particular tb like in the meter

so we get it loud without getting it loud

in the meter I think that's pretty much

everything I did on the channel remember

in the last video I told you I like to

treat everything like a channel on a

proper mixer you have EQ you have your

gain your praise your EQ your compressor

and then your sends and anything anywhere

you want to send sound into you can now

group that into a boss mix where you can

process it as where you can process all

the drums as a group that is how I that's

how I'm also processing it here I'm doing

it one by one and then sending them into

a group where I can add

all the elements together

so next I have a snare that I

did almost the same thing too

you get but this one we're going from EQ

it gets yeah let me mute the kick so that

we hear this properly yeah taking out

some disturbing frequencies so little

yeah that one you can barely is almost

almost almost you almost not notice it

but every little little details that

we're adding will make up the full chunk

of the track not as a major thing but

collectively they will all add up to the

to the groove of the thing you get then

we'll come to the percussion stage so

this percussion I treated most of them

apart from the ones that uh needs special

attention I treated most of them as as a

group you know so um individually I get

so the shaker yeah yeah

yes

and then this one I added yes so I went

into treat individually uh this one but

these things that the things that we'll

probably bury in the mix I just wanted

them to be able to see it properly

without affecting any other thing see

without wait you get even though the EQ

looks like while going to war it is not

it is not the same as what it sounds like

you know I was just working based on what

I can see and hear so um and then he goes

into a boss so the boss is where I really

did most of the heavy lifting and the

walk so um let's let's play it as let's

play it from the boss let me turn it off

you see not not so much jump that is why

your mixes are not sounding good because

you do things you want things to add

heavy jump I'm not looking at getting

jump where something is so different from

where I'm coming from you know and then

again when you're mixing you should have

a reference track either the reference

track that the artist has been listening

to from time to time or the reference

track that you that they provided you

with so that you can always check and

balance things in this case I have the

reference track down here and I'm always

listening to see you know to see where I

am and where you see I just added

something to make this a little louder so

that on YouTube you'll be able to hear it

if not it's going to be quieter than this

yes so this the precautions we did that

let's add all the things back so

you get not a massive jump just bring

everything to the front a little bit so

let's play it with the snare and kick

yes so the next thing I will talk about

before because I don't want this video to

be too long I will go I'll go over the

things one by one by one by one in

another video we come to the bass aspect

of this so I always like to use a poo

tech style compressor on my I say poo

tech a Fairchild style compressor on my

bass because the bass will sound

saturated and also fuller aggressive if

you know what I mean so listen to this

remember what we spoke about in the

videos of okay no not here it was in the

Krispy music academy class that we spoke

about that so I added this Fairchild

style compressor from Wave this one is

called Poogchild 67,(...) 670 and then I

added this also taking out some frequency

that I feel like might be problem in the

future like I can see this I could not

hear but this I could see I can see

something pointing like he's going to the

heaven there so for for the lack of a

better thing a better reason I took that

out of course I don't want to hear

stories if I turn it off

see just a lead two fatter yeah like

almost like he's introducing more

harmonics I like that and then I took it

I took some out with this with the EQ and

then sending it to bass boss that has

Saturn 2 in there where I'm adding enough

saturation to get that grittiness out of

it and then another bass I have the mid

bass is doing and then again another

thing to mention is that the

producer of this me already did

sidechain so the the bass is already

sidechained to the kick so in this case I

don't need to or I'll now add another

sidechain except if he needs it like I

said when you're trying to mix a song

that you produced by yourself bounce it

out and import it into a new session you

should not mix it directly from your from

the place where you make the beat I mean

you can bounce it out and also import it

back into the door into a new session so

you have a clean template to start

working with and you are not tempted to

change things that is exactly how to mix

if you are mixing the song that you

produce or you have an influence to for

someone like me who likes to play things

I can have a billion things that will be

that will add sweetness to a particular

record and it might not be what the

artist wants except if they need it

except if you have to change some things

around that is when you should do it so

with everything that we have the kick the

bass the snare we have something like

this with the other bass okay let's just

add this for sweetness

and that is where we'll be stopping for

this episode and in the next episode I

will take you through mixing the other

things and how I approach them to make

them sound like a full song with this

knowledge you can use it to approach the

same way you do your mix I don't have to

tell you I'm getting this amount of

reduction I'm getting this amount of this

thing I'm taking out this note that is

not what I aim to do what I aim to do is

to show you my process and what I'm doing

and why and then you can use that and

make informative decisions on your own

and I hope you found this video helpful

like subscribe leave a comment in the

comment section and I will

catch you in the next class