Segment 24 - Mixing EDM - Compression
And again I'll just uh here's the arrangement I just uh I just play for a bit of it and you can see the no way thea again with based on the track here first to booth oh, again in here while you were laying on here as well she is just copying those still has had a ll the base taking out a delay on here as well and again put little spread on here spreading albert staring like that really on track as well and again because the steroid delays is hard pan left in my gun and put a direction makes it here just to bring that in again a little bit if you listen with headphones things that going completely left in my eyes started some people like that you have a cue on their game to turn it up a bit to keep my mind around harmony on their way wait have you look it's how skank here's where it happens every now and then I think on this track as well earlier I think that you know yeah anyway, so this is another track and again it's just to show you how it is actually not that much stuff going on he...
re um I'll never thing here that I use every now then it's an envelope plugging what it does you can make the make the attack shop normally I can hear that on extremely sharp you can choose the time it doesn't have to be like a decay really go using civilians actually but they could be quite useful in situations like this wave that will be more slacking off again on again you can control the end as well way way everything is stuck to sixteen bar blocks you know people have a tendency to when they first start to think what I want to have a little break down but not out here for instance my imagination to bars to have it with nothing you shouldn't always you're gonna have a little bit of nothing when you read it put it on the previous two bars so everything kind of you know sits in sixteen bar box and that's that that helps her for when people actually d j in the music you know things simple for them to mix you know so everything should be kept in sixteen blocks you know sometimes every now then you might wantto have little bits changing here in there or have some eight bar parts as well but in german if you keep everything too sixteen by parts makes it quite easy for a deejay well I'm gonna load up another two news. Any questions? Why do that? Um yeah lawrence wants to know talking about starting out and up incoming producers up incoming producers starting out I guess what advice would you give for sending tunes to people for feedback or advice what's the best way to go about it since changed people yeah, so if somebody like, for example, wanted your critique of a tune, first of all, do you ever do that? I don't think the question is specifically directed at you, but looking for somebody who's a spot in aspiring producer? Yeah, ok, people sending me a tuna to ask her what I think of it, I think in general were sent it to people who makes your style of music at the same time don't go don't go too big because the bigger person you send it to, the less time they have, you know, if you made a tune that's in the daiichi style, he said it to evie cheese, I mean, there's a chance that you might listen to you and give you some feedback, but he's probably not going to raise it if you haven't, you know, another producer that makes that kind of starter house who's not quite as big he's going to more willing to give you feedback, but yeah, I mean, people often on sound carries a good way to do it because think about doing on soundcloud is the fact that they can listen to it there, and then they don't have to you have to worry about some random person sent me a tune I've got downloaded and listen to it is literally on the off chance that they're just going for the nose their sound carmel was in the alcs ana simply change and that's just a few clicks away listen to it and then you know they might give you feedback you may I do that quite often sometimes it gets really bad maybe I would give him feedback or maybe a bit some you know, generally I will give people feedback because of the time it's hard because you know, you might ask your friends what you what you think of the music and you know, at the time they're not really hearing the intricacies of mixed down the staff so I might be able to tell you or if it is rubbish, they might just, you know, it's great. You know, we're not really hearing so the thing is if you can sound how's the best way to do that I think court yeah, uh, ok, so he is drawing based, you know, I done. I done that was playing earlier. I could, uh, play for a bit of this and show to mix down on this. Wait, I have a noise gate here should maybe explain where how is north dates um I mean, traditionally they used tio to stop noise coming through like a microphone or something so that so that when the signal dropped below a certain threshold it cuts out all the sounds if you've got a slight home with a microphone you don't want him to be there soon someone sings you wanted to open up the gate because he's in a creative way in a way it's kind of opposite to a compressor so thie break plane I mean in some ways you can kind of do what annoys gate is doing why using the envelope here that's our destinies and I used the noise gate on this particular drum because this drum is actually long parts of a break there already there so part of a break it's hard for me to do that with the envelope because of that I've used in noise gate and I'll show you what it does basically out in the fresh hold down everything is going through attorney up listen this will come through attorney right up nothing's coming through attorneys down more the sound comes through get that just right on internal police up so it doesn't come out right away it takes time again here is how much introduced by cutting out completely under the threshold here just a bit so if I if I put this on no it's not going to have any change you get listen this so yeah it's just a good way to control dynamics nice guy um okay what do we got here? Eh? Someone was asking about compression maybe I should go over compression a little bit and I don't use compresses that often to be honest vocals these compresses quite a lot maybe that be a good way to to show to show how they work um I mean inspectors quite compressed already the even circles to kind of today in my way today but when I looked different something like a vocal has a large dynamic range and what dark dynamic grain jews is the difference between the quietus points and the loudest points so something like just kicking on for instance it's all the same the same william so there's no reason to put a compressive on there and I want to change the sound of it possibly you know changing the attacking the release even the complicity I could use it in general there's no real point of putting a compressor on the kick dramas a lot people just for the sake of it without a confession and I kick drum there's not really any point where there's something like a a vocal there's a lot of change in the in the volume of keeping more consistence consistent in volume you a compressive so basically dynamics compressor one man sent in in my way today so the main the main things you have in a compressor of the fresh hold the ratio in the attack and release sort of fresh hold is the point at which it start to compress so if I've got the fresh older way up something new compressing men standing in my way today in my way today but when I looked at the different was that you confessional for shut down it compresses more now the amount it's actually compressing is controlled by the ratio so if the ratio is all the way down then it doesn't really matter where the fresh hold is and in general as a water from the lower the ratio the more you want man senator threshold and vice versa you can't official very higher so the racial very higher but the fresh off just a slight man sent animal where today in my where tio bar here is how much is compressing it bias that's how much is turning the sound the body with the sound down man sent animal where today on the way today than then allowed in the rest of it so man sent animal where today and again you have different types of pushing you are a mess and peek alright mrs kind like an overall volume peak is at the the peaks it's bobby's show what's going on with the peak compressor really man sent in my way today in my way today ratio down a bit man sent animal where today in my way today you have the attacking release and that's the time it takes the attack is the time it takes to start compressing something releases how long afterwards it brings it back up again man sending him away today in my way today telling police right up higher born man sent animal where today you could see it takes longer for the volume two to drop down and saying really attack it might take longer efecto start compressing man sending him away today compresses you have an auto setting as well which people quite useful for useful for vocals and let me show this on the drums as well because vocals, drums and bass of the kind of things you normally compress look obviously the drums as a group is more dynamics going on in just a single kick, so you're more likely to use a compressor on trump's is a hole, so here I'm just using my drums playing on their own no just put compressor over this he's a pig compress art and attacking police down all things about compressions and people don't realize is the game makeup so if you're compressing something weii conceive the up drunk peeking around their home he's pretty much the same way with the compressor off now will be on it could be picking the same, but because the competitive course the creeks, the overall level can they be turned up to compensate on again if I muck about with your talking release theo. I think in the beginning of the kicks it snows come through because it compresses, taking time before it starts to compress the're. Basics of compression. I mean a little bit hard to get your head around sometimes, but basically what you're doing, you're just controlled in the dynamic range of something, and when you compress something, you, you're bringing down the peaks and it to compensate you, turn the overall level back up, tio, you're controlling that. Don't anyone into something.
Learn the basics of producing electronic music from DJ and producer, Ed Solo. Ed has worked with DJ Fresh, Krafty Kuts and FreakNasty, and in this class he’ll show you how to drop the beat using Logic Pro.
Ed will take you through the essential elements of electronic music and show you how to use Logic's EXS24 sampler and a few other virtual instruments. You’ll learn how to work with Logic Pro’s stock sounds and explore the range of options you already have in your DAW. Ed will teach you proper routing and mixing with eq, compression, and effects. Then he’ll show you how to bring the elements together and produce a complete mix. Ed will also discuss what differentiates the electronic music genres, drum 'n' bass, trap, dubstep, and house — and how to create the sound that make them unique. Ed will also show how many of these techniques can be applied to any DAW, not just Logic Pro.
If you want get your start in electronic music production or just pick up some tricks from an experienced Pro, don’t miss Producing Electronic Music with Logic Pro.
Software used: Logic Pro 9