Demo: Mixing an EDM Track Part 5


Fundamentals of Mixing Rock and EDM


Lesson Info

Demo: Mixing an EDM Track Part 5

Basically for the rest of the mix I'd be doing things like this we've kind of seen the process is just like emotionally I keep trying to get mohr tone and mohr tony award tony keep getting these stones to son better and better and better ah boy and better and better create more space by doing cuts and then eventually would get a derivation so let's like we did yesterday say that this was somewhere near the blood and even know I don't really think it is I'd be I've kind of done a lot of the concepts I think we're getting into the point where I'm repeating by several little so I want to start showing some of the things we can do to bring things out so one of the first things would be is like all these up and down lifters is you know what do these do these need to be brought up and brought down at certain points? So a lot of time I listen to this and see how the insurer in the tail really sweeping me the peak of this could go up a little bit more so I'll make a point there I'll go onto my...

grid I'll make a point where it actually hits on the one then this looks like it's where it's ends and all kind of boost just this part of it up so it starts the same thing that I'm noticing that want mohr impact on the side so I might bring this out a little bit more so I'm even wondering if I can get more out of this so I'm gonna try pushing this now that seems low a little much to me so I'm going to go back to what I had and I'm gonna do that so what I would didn't do is I'd paste that around to all the times it does that and then check the rest of them but so you get that concert I think a lot of the time he's down left years need to be andi up lifters as well need to be automated as you go and figure out what makes each one because there's so much more important to the impact of that chorus like you know, whether it's a katy perry song on toe like the dance songs that you hear in clubs every weekend it's this is like one of those things that emotionally lifts us or me it's really important to contour that stuff um so the next thing I want to think about is then what we do tio make this vocal sound cool there might be a couple parts where we could extend do some effects stuff what's your so one of the things is is when you do a chorus break like this, making it as thin as possible can often accentuate it um so one of the things I might try and see if it sounds cool is taking out the bottom it's what I just did is I automated the high pass filter here and I might try first of four hundred that's pretty subtle let's hear it a little bit more context, so because that worked well, um I might try going a little farther. Um, so the point of this too, we should say, is the less space you have when you do it a drop out as opposed to the drop when the more base is the contrast, like the thing that I think everybody loves with the dub step drop is the idea that it's not a whole lot of based on all of a sudden you drop in this massive sound it's the same thing that got nirvana popular smells like teen spirit was this really quiet verse and then a humongous course people love that contrast the music in the more contrast you can make the better. And so what I might try to do for this contrast here is like, obviously we have a thinner verse here when we're in this like kind of doubly part and then all of a sudden, like what's going and explode with way more bass, so I'll try to accentuate that so let's see if doing this helps a little bit this is six hundred twenty six hurts now on this so that's a little too much I might try a happy medium after that but that's kind of the point so the other thing is then so what else is in that point we have our little ring sound from the game boy this's a pretty low uh filters so let's see what happens that allows us to hit even harder I would then see if there's anything else we can clear out of here does this books and have a reverb go no it stops it does have a nice little trail but I think that that could be cool characters so I'm not gonna get rid of that and I'd look around and see if there's anything else we could do that to keep accentuated but it looks like that said so we move on to something else so I think in here you know so now we hear a part that I think that vocals pretty cool so we might want to boost that up a little bit so I'm in a tab to transit again and bring this stuff up no that's bringing up the band frequency let's bring up the volume I'm noticing I'm not even hearing what he says in here different sample that's why so let's split that into a different trucks since it's probably gonna need to be treated differ I duplicate without a playlist on and I raced that automation here's another cool truck is clear special gets rid of all automation so we now don't have that filter automative in there I take this yet there's automation there again let's move this up so it works so as you could see instead of compression I'm using distortion I am going to compress us a little bit more, theo so the next thing I'm hearing is there's some frequencies I don't love in here and I'm also not sure that I need this arm anizers s so I want this a little bit more crisp, so I'm gonna find a frequency I don't like I'm gonna tighten my solo dial this way, so I would kind of just go around and keep doing something like that. I might add a multi band compressor to that because it seems like it really is unclear and I want to get this as chris was possible and try to not bore you with this, we could keep doing some fun stuff that we haven't hit yet in the remaining time we're going to send everybody that would have been if I keep repeating that too much, so I'm going to move on from that so what I didn't want to do here too is I wanted to bring this out thief sounds like it could be cool here is a little bit deeper of a reverb too, so let's try that this is our hall yet again and talking about that three reverb thing this is our long river but I think that the long reverb could be really cool let's try pulling this up for this part I think that's awesome. So I would've been psyched on that. Looks like this is a repetition of the first thief. Okay, so this is a repeat of this but there's part of me that wanted to do something different, this part and a lot of time for the bridge, like, you know, in a song writing principle that, you know, somebody always puts that the bridge is time to do something different, cause you board them by doing the same thing four times two verses two courses by this point let's give them something new. So even though this is a similar vocal pattern here, um, I'm going to do yes, because there's so much space here, I feel like we could get away with a really cool, lush reverb here, so I'm gonna crank that up a bit. Yes. So the next thing to do even though that's a little bit different, I feel like I'm just feeling like I want a totally different character on this, so I'm going to try to play with my friend decapitate er a little now I have a little thing in my body that you know, maybe it's the punk rocker and me that grew up but when I see these precepts that say vocals I have a thing against ever putting that on a vocal because I just want to rebel but with this punk and I always find that that actually works really well is to just use the vocal presets because it actually sounds good but I will say this that I like that bona me and it's how I found some of my favorites presets that I then tweak is to go to the drum preset on the vocal or vice versa works really well I think something way think that could be really cool in this part so wait so I'm loving this I'm loving the character we got on it but I'm feeling like now some of these echoes of getting lots so we're going to go in I'm going to automate down from these eco since they are printed and we love our dub echoes theo so the other thing I'm hearing here is this is a big thing I hear with a lot of dance music is that then all the kick drums are the same violent this is usually a great thing but right here since we're trying to be a little bit more mellow we're gonna go in we're going to do our friend that gain plug in we're going to hit the compressor and everything a little less hard because the way it actual drummer would play, this is the first hit on the end before the one would be a little quieter, let's hear that sounds just a little bit more natural to me, so what I'm hearing here, too is I would probably want this to be a little less quiet at first and then maybe build up, so we want those kick drums that harder when it comes back in a way, you know what? This next part build up a little bit more, theo, one of the things we talked about that streets of fire. So is that what you do? A lot of the hits get a little too much, but I'm not feeling up there and I almost want to have this crescendo a little bit more on even mohr right here to bring out that dipped down effect that's not the biggest, the very speed love me of air speed way better. Another thing I'm noticing is this stair phil is really cool let's give it some more, so I'm also noticing is right where the kicks well, I feel like we could christian know that a will and make it happen on emotionally that just feels like more rebuild all I'm doing this for is that have no logic but mohr wising when I first thought about this part I literally thought I was going to turn down these kicks and I did the exact opposite and I think that's the same thing that happened with that base that song shirt earlier today is that this is all emotional responses sometimes we think I should bring that up and really bringing it down because it's actually fine we've got to try and move and see what your emotions are for each party so the one thing I'm a big fan of and I want to get too since I knew I'm low on time is that a lot of the time what I try to do, especially when there's not a dense vocal mix like one of the big things you'll see is like, you know, at the end of the song you know us to any dr wukesong whether it's like katy perry or kesher wherever there's always an extra vocal out at the end but I see that we don't get his dense with the vocals so what I try to sometimes do one of the less dense fela's I try to just find something special maybe in another effect I could do for the end to make it a little bit more meme memorable and feel like we have something new that keeps us being like not being like why did this song so this song is just under four minutes you know, showing that we didn't give up and bringing a little bit more excitement for them. So I must see if I haven't really heard this vocal. If there's, anything special I can do is always a thought in my head. So what I would hear with this is I might turn on another delay, and since this is a very dub style vocal and I'm a big dubbed fan despite being the whitest guy on earth with the widest guy voice on earth, as fitting often tells me, I have, um I am going to put on a crazy dubbed delay and see if that makes this really cool at the end. So dubbed delays usually fall somewhere around sixteenth and thirteen second notes and, uh, here, let's see how this works out so that's cool, but I think I'd be way cool or with more feet, maybe a thirty second let's try something like that. That might not be exactly what I do when I might put a river blast, but the more principle is, is I'm trying to make something cool? It interesting at the end of the song it's something that you know what a deejay said? Somebody has something cool too faded to the decks track and a little bit of emotional climax.

Class Description

While it’s easy to get distracted by the latest and greatest gear, plugins, and flashy tricks, the real key to a great mix is mastering the fundamentals. In this online class, veteran producer/engineer/mixer Jesse Cannon (The Cure, Animal Collective, Senses Fail) shows you all the essentials of mixing rock and electronic music.

In this 3-day class, you’ll learn how to set up a session the RIGHT way — including routing, gain structure, listening techniques, and other best practices. He’ll show you how to mix vocals, bass, drums, guitars, and synths. You’ll also learn how to use compression, reverb and EQ to make your mix come together, while achieving the punch and separation that takes it from good to great. The class is taught with Pro Tools, but the concepts easily translate to any DAW.

Whether you’re new to mixing, or are a seasoned pro looking for a refresher on the basics, this class will teach you how to seamlessly merge individual sounds into polished, cohesive tracks.