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Mixing Master Class

Lesson 12 of 13


Kenneth Gioia

Mixing Master Class

Kenneth Gioia

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Lesson Info

12. Automation

Lesson Info


So now we're gonna do is pull this back out. We can actually hide that envelope, or we could still show it. But we can switch to a different envelope, which you could just hitting me. But I want to show you to your here volume level. It's not two separate envelopes. I'm gonna move this back down to its own lane. Just you could see we have two different tableaus we have. This is the one we just been riding, which is the pre fader. I'm sorry, pre fader, which is also pre effects. And this is what we're gonna ride next, which is after everything we just did after the compressors and e que that we put over here so we can just hide this guy over here and I'm gonna put in this guy out of the lane and it over here, so it's a completely separate available. Could be writing right now. And to do it, I'm gonna switch to write mode here. There's different moments you can choose from right from here. This trim read that could go through all of them. But this trim read, which is what we've been usin...

g along with his right mode where we're actually write the automation they're gonna ride, then these things, like touch mode, where it will actually play back what I just did, and I can grab it the kind of punch in right now we're gonna start with right mode. Now, if we write, cook over here, we could switch our tool bars. But I'm gonna open a different toolbar called automation, which I now have to move into a different space. It's I can't figure out how to do. Let's go back to other space. Ah, let me do that. No, this political from spaces, two spaces and I can't do it this way. We try this. There we go. We don't have to do with spaces. Then we'll just do it this way. Um, I can just switch the modes right from here. We're in tre mode just right. Click and switch it to write mode to the fate it turns toe. Excuse me. Looks red. That lets us know where in write mode. And if we start writing the fader I don't know actually writes it over here. So ready to write. Undo that and we're still in write mode. Yes, we are. I think I'm gonna put this in its own lean. Let's make this smaller so you could see it a little bit easier. So I'm gonna write down here. I'm gonna walk through and ride. It's a good part of the song. He still after the first course, gonna go through and riding in real time using the fader by feel I don't know if I can do anything more with that You I don't think I can, You know, he also far from me. Space between goes and this'll work space Santa, you away with you? Of course, that's not going to perfect. But I think I did pretty good job. Once you get to know the song, you gotta know when you're gonna get a little out of a little softer. So it should sit a little nicer on top of the mix. And afterwards you could always go back and punch in using and set a trim read mode. You could go back until touch mode and then as you play it, watch are here. I'm not gonna create the fader. Took its over here. I don't know if I can do anything more with that you don't know. He also far from me space between goes and this'll. So she wanted to record right here. Look like this before and I recorded it and just punched in here. If I want to play, I did want to talk during it. But if I let it play and let go with a fader, it would jump back out and go back to what I had here. So we basically just punched in automation line by line. And it's a way of courtesy. Fine tuning it. And then we done we could switch this back to either trim, read or remote. Read more, will, actually, let us see exact what happens on the favors here. Watch. I don't know if I can do anything more with that You I don't think that I can be. No. And if I switch it to trim, read instead. These aren't gonna move, I don't know, but I can use this fader as a trim. In other words, if the vocals will too loud right now, which I think it is, just bring this down a little bit and it's gonna still keep all the automation down here. It's just gonna trim it based on what I move the to which I just move this down too. But C minus 0. I don't know. I do think moment that you can, you know, don't automate it. But it just trimmed about by r minus TB 0.0 point 94 So all this automation was written is still there. I just trimmed the vocal down one de beef from it. So that's that. Let's do some other automation of some other tracks. But, like, I don't like to ride as many things as possible as much as we have time for See, we got here. Did the pan that one. Let's do some background vocal automation on start to use. We'll do a similar thing now, easy to do in Reapers V and that creates that envelope right there. And from there I could just switch it to right mode. I just wanted to show the other way doing it. We could hear that back make this a little bigger on. Of course, we could tweak it from here with you to bring the whole thing down. Actually, one of grab the whole wave from this side, put down or do start right from here. Pull this down and the entire way goes down a little bit. Way to the next section of that comes up, which is right here. Switch it back to right now. I noticed something jumped out a second ago, which should be spacey vocals, which is right here. You, too. Next thing I want to write, it was guitars and being kind of noxious. So it's go to beginning. Just write a little bit of those. I'm gonna ride these together. So to V and V on these make it smaller so I could see on our screen. That should be good. We'll put both tracks into right mode right here. And because both trucks has selected, it's gonna write on both tracks at the same time I started here, I lost my right would. I don't have a spot right here to make the smaller that little Cynthy thing jumps out. I want a feature that's just for that one spot. So let's find that little guy. Levi's called beeps when he first comes in. He's fine, I think, and it gets a little low. So it's right. Him so kind of features it towards the end. There better brought up a little too much. Switch this to trim mode, Tuchman. Sorry. I don't know. Could bring the gangsta leads up a little bit too. In this spot. My shift keys right here from both and right. I don't know. I do. I'm just kind of doing it. I feel like, for instance, a vocal comes in right there. So it probably gonna want to do is from both like this. Keep them in to put it back in the trim mode here. Sorry, Kikkoman Trim mode, Touch mode. And I'm gonna pull him down when the vocal comes in to give space for it. But leave it alone before that I don't know. Do you think more? Just makes a little more room for things And then I pretty much run to the whole song, giving all these little spots, finding little moments toe, bring things up, bring things down. So things that are less important obviously will be talked a little bit more and then they have their moments. They can kind of come to fruition in be the main thing to make this smaller. What's here from that vocal spot ex world. So let's go back to where the Mogul is. And here from here. I don't know if I can do anything more with that. You don't think I can, you know so far from between. So for example, right there, I just heard that it'll affect come in that room. I think I want to just bring it up a little bit in that spot right here. I don't know, but just for this spot, So we'll keep it where it is now, and we'll go into the touch mode, which much be good. I brought it up just for the beginning of it, but then brought it back down on the vocal. Came in it to get in its way. So far from me. Space between goes and not sure from here, that's a never enough. I don't know that bring up a little bit. I don't know back and do it is a good time to go back and double check our to track effects. What do that? What's the first save? And then we will go to our floating mixed bus and what's checked the effects that going on right now again, this is gonna be without our without anything. Actually, let's hear that. I don't know if I can Do you think more with Mixed Kind of disappeared because it was so much was relying on those two bus effect, which is why you wanna have it on their Because this isn't the mix I would have made without it, But with it on their I've mixed into it. So we hear the effect of it. I don't know. I can do it. Could still go back and tweak it. At this point, I don't know if I can Do you think more with you Can you know, Let's go to the multi band, which changes from five to minus seven. Let's see how that sounds. Ah, to turn. I don't know if I can do anything more with that. You know, you're so far from me speeds between goes and I still think the leave vote was getting a little bit loud over here. So what seemed down here and trim mode? I don't know that that's the beginning. Get so out over here to so far from me. Space between goes and actually gonna show you a little trick here. I could go back and rewrite this guy. I think it's well, too loud. But let's say, for instance, I really happy with the way I wrote it. She wanted adjust it, just the wave completely. On top of that, you could do that with a thing called trim Automation. Now, Reaper doesn't actually have trim automation, but when they do have his v c A automation. So if you do is make another track, which we'll do right here and by using V c A automation, you basically simulate the same thing. So if I go to this track right here and I go to my group's by hitting shift G, I can call this a V c a, uh, be seeing master. Then I'll go to my vocal and corner V C A slave. Now, this track right here, it's not gonna control motorized the fader here. You're not gonna see the fate of move. But we are gonna hear that the thing being adjusted. So watch as I adjust this the vocal little my fate of fell off there for a second share. Almost time. Let's put this back to zero. So it's still controlling it. Even though all this stuff is still happening so we could do it. That is, Put it back to zero. We could automate this so itself. It was a little bit too loud for this whole part Here. I can grab this track, put it into right mode and just write it again. On top of what's already being written so far from me. Speeds between goes. And if I just want to do that much, I can apply this to this one by selecting this track, going to my actions. It's kind of advanced thing, but it's kind important for mixing and choose this option right here. Apply all V C. A's from selected tracks to the group track, so only moving over here so you could see it for hit run. It applied. But I just did right here so I could show you the difference on do it. This is what it looked like before we do it. It changed it. So what I did over here and I got applied to this and then afterwards I could just delete this track because I don't need any more. I could just make those tracks every time I want to re ride automation, but keep the automation itself intact. That makes any sense for you that's called trim automation, but again, it's not really building to Reaper. But you can kind of get around it by using V C. A's, which VC is a really meant for dealing with multiple things like, What's April? The germs. Together you put a V C A. You could ride the drums, and then you could apply that to the individual tracks as well. But get around it by just doing it on one track like this, and you create trim automation, which is different than touch automation, where you actually punching in and rewriting it instead of keeping it intact. So let's see what else I can play with listening back again to our drone tracks at the beginning. What's the others that sounded? I think this guitar there's still a little bit too loud the beginning I'm gonna grab him, but I like the way the sound later. So I'm just gonna grab them for the beginning in touch mode and ride them just for the first few phrases. All right, E went down a little too low. So maybe do that. I think it's better. One note right here just bothers me. So I'm just going to redraw just this entrance on this track. And this one, it's a little too much. I kind of lost the note completely. I think this bigger so I could see this little clear porters down a little too much. And this one way too much that's better. And, I don't know, thanks to eat a word with you. They're still in trauma mode right now. I don't know in first. Not still too loud. So grab it just for the first note. Let go. I don't know if I can Do you think more with no so far from me Space between goes. And since that's hits just to hear it clear, I'm gonna turn the lead vocal offer now. Okay, I'm gonna ride them. I'll put them in shrimp mode. I'm sorry. Touch mode. Keep making that mistake. Bring the last time a bit better. That's it with the vocal. Shouldn't get in the way of it. I think this one right here the take and put on a pan envelope. Just this one part. I'm gonna pan it to the right just to get out of the way. The local shift back just after that, though, to this side, that was pretty good. Obviously, I don't want I'm gonna pretty much keep repeating myself doing the same kind of thing going to the whole song this way. So, um, I think that's basically most of it.

Class Description

Kenny Gioia is a multi-platinum engineer and producer behind pop and rock records from the likes of Bayside, American Authors, Ingrid Michaelson, and Mandy Moore. He is also a trusted educator and founder of

In this mixing masterclass, Kenny will walk you through his specific mixing techniques getting top-40 friendly mixes entirely inside the box in Reaper. He will cover:

  • EQ, compression and dynamics
  • Reverb, delay and time-based effects
  • Vocal automation and vocal tone
  • Drum, guitar and bass mixing techniques
  • Mix-buss and pre-mastering tricks
If you’ve been looking for a way to get that big studio sound from your bedroom DAW setup, Kenny will show you how to get your mixes sounding like they’re radio-ready.

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this is really great mixing course, kenny has a great workflow and i learned quite a lot and it was easy to undestand, and i dont even use reaper, what you learn in this course applys to all daw and tools, which is great

Evan Phillips | Alaska

Kenny's Mixing Master Class blew my mind. His workflow and level of organization during mixing is a real eye opener. I'm also a longtime Reaper user so this is an excellent all around resource for me. I feel like I just stepped up my game. Thanks Kenny!

Geneo Van Engers

so far this has been a great training class for brushing up on the basics it would have been nice if you would of went over gain staging more and how you got the static mix level wise when faders are at zero its a little deceptive. I did appreciate the minimal set up you use though.