Segment 26 - Mastering EDM
We take what he's our first so firstly here's my main output here and then we get into the trump of the chain here a lot of time most time everything's too loud on this master hitting all the reds which is not normally a good idea I think the way logic there was of it if there's any distortion going when you weren't actually hear it into about the track out so if you're in the red loads it's going to sound fine to you because of the way logic works within what you about to track out myself very destroyed so good thing to do straight away before you do anything else but again plugging on and bring the volume down a bit so if this was peeking in the vote when she isn't, which normally isn't much was actually done when you have to turn this down or not at all hits red that's a good idea to do because if that was hit in the ready different starting another plug ins on it's distorting into the plugging you want a good signal straight away is not peeking after that I don't use that here it's...
called a linear faizi curious pretty much the same as the china week the way it works is slightly differently as it takes up more processing power and the best sound again I'm just using very subtle differences is I just got a plus one d b around this weekend quite a wide que onda getting master and you wanna have quiet white kids and again your key was the how white this is here too that just plus one d b o severed heads plus point five tb here on da minus point five tb on the base so quite subtle monique um well plugging I used pretty much all the time is a slight digital plugging and this is like a compressor kind of a compressor but it's allowed this maximize on but it's not just just squash is the sound we have but but but being quite transparency that we hear what's doom basically what one may know which makes it louder yeah look through these days is squashed very loud which is not a good thing to be honest because I need only certain types of tunes could be made loud and not suffer so that you move less in it so it is, you know, keep him here in a base there and each other is not too much overlap in it could be made loud and sound goods but then deport me is that sets the bar. So then someone else has got a track it's got loads of stuff going on at the same time they're track has to be as loud as the other tractors for delays to play and t sounds out on people on what have you it's a shame because it's cool it's cool to think all the loveliest wars where everything's gonna be as loud as everything else and you know it is sucking the life out of the music but you know you have tio kind of I don't want to be as loud as everyone else about being down a little bit there still be reasonably that that these kind of plug ins help you do that there's also the oxford dynamics she's quite goods the wave stuffs quite good, but I find this one really good on again you know there's a good finger on this one let me just show you first way it does now obviously if I go to extreme, you start to hear the effects of it, but good thing in this plug in is a constant gain monitoring so what that does as I make it louder is turning it down relatively to it. So as I turn this knob up, I'm just hearing the effect it's having much the william it's making. So now if I turn this up, you're not gonna here in this city get louder, you're going to hear the effects of what it has that's a really useful tool to know that certain point this is a great signal around there he's just before it starts to sound that good that I continues but it off by process again as well. Another thing teo teo, that your base level base has a lot of, um has a lot of power, so if you have a really bass heavy track, he can get to a certain madness you always juggling and how much base you having attract compared to how loud you can have it, so if you want it really loud, you have to turn the based out of it if you want really basic, you got to have it allows you've got that kind of that balance, right? Another good plugging a can't live without now is ah, magic a be plugging isn't releasing component is actually have any effect on your music a tall what it does is to compare mr compare things so basically you can put your own tracks in here in these different slots in the same style of music that that you do and you can instantly compare back and forth between the track you're working on and the track you put in here. So by doing this and b bomb, so if I play this off switch between track on a track I've got and another track this in this plugging that I put in here in myself wear pretty similar in volume and and, you know, spectral balance of it, okay, another tune here, I know that oh has a certain sound to play in the cup quite a lot and I know that it has quite a lot of tops not bond it's literally skipped out in the media so I can compare my track to this could you get you get used to something so if I'm making my tracking it and it had didn't have much tops in it so that we just take all the trouble down on my track instance so if I'm if I'm making my track get used to the fact that there's not a lot of trouble on there so then towards the end as I'm mixing down towards into the track I didn't go to my magic can be wait I can tell there's a lot more trouble on these tracks here compared to mine I think we'll go into my you killed our master so and I was you know, just the trouble calling me you know that may be only be like a few dbs high or refuted these lower someone so full also if you are actually giving your track to someone else to master you can't get quite get it is allowed you can actually turn the volume oh to compensate so you so you might you might only be wanting to match the spectral balance the trouble in the basin the mids as opposed to the volume so in that situation you can adjust the volume of the of the planning here to match your volume and you can just concentrate on getting the spectral balance work so yeah again I think it's quite cheap plug in this life is putting that thirty bucks or something like that again you put your I have my own different you can put different obviously my job base it's got you know drum bass tunes that I know sounds good ah good volume and have a good special balance and straight welcome compare him because he is very used to getting used to something you know you've got a lot of tops in the track he was just get used to that pretty quickly and it becomes normal whereas in the grand scheme of things it might be very top heavy you got trouble in there yes magic baby plugging it yes it's brilliant for four mixing down and master yeah there were questions there how we got a couple questions about since specifically ok here's here's a good question though hi ed you did not this from relative snap hired you did not put any reverb or any other effects on any of the drum yesterday is this something you do due to add on beyonce and effects like later in the process thank you for doing this it's awesome to be honest I used less and less reverb and stuff on my drums these days I mean a lot of times because it's club music and and there's a kind of natural river within the room of a club, right? So if I put even just a small river but it's not going to be added to again in the club the sometimes I do put maybe on the hat so in the snare I put a small like on this near for example here smooth he's quite subtle, you know, sometimes I do that I'm finding myself lesson this do no I mean, um especially in german based on love it's to do because it's quite for we don't really hear in any way I was making a more spassky in between what I haven't got as much of the shop early breaks that I'm probably more likely to put that small wave upon the snow because you're going to hear it more, you know? Because you know what might have is much going on you might just have that way, but if I've got all my drums going at the same time, I'm quite busy tune really here is there if you can't really hear something, don't have it, you know, it's like there's no point in just adding something if you can't really hear because he's going to let you know, I mean, you could argue that it is doing something you really start over if you'll have times when you're gonna hear a little bit but yes in general than what they're more sparse stuff is the more on again as I say when I'm making the traction because it's slow you can have longer reeve herbs and stuff on the drums but with german base that tend to have less let's remove the stuff going on okay um here's another question for you this is about how you act where you actually store your um content hey ed thank you for doing this year's I'm learning a lot quick question do you use a second hard drive to stream samples and recordings about making music so to use external hard drive to store your stuff or do you keep it all on your and now I keep it pretty much all on my computer because maybe because sometimes always in my studio I might be in the front room you know I think it's good sometimes to change change your environment it can help you creatively hope your creativity and you know sort of door says it's always the way that there's that one pack of sounds of something that you want when you're there sitting on your sofa and you can't access them so I mean these days is hard drives a pretty big you know so it's not good to just hold loaded samples and stuff was well I mean it's so easy just to have blows a sample packs and stuff and never go through him right? So kind of you know mayor and again like I said before actually yeah, I might if I've got a pack of big pack of snares or something from vengeance or something when I first get it, I'll go food take take out twenty percent of the best and used that they maybe keep the region a sample pack on an external drive you know, s s another advise you of doing that but your general I'd like to keep everything on the computer and again like that now for instance some you know, I'm over in the states and in my hotel room I've got everything here, but I did think about that because I just got that you've instance complete recently and it's about three hundred gigabyte it's and I was like, damn that's a lot of space, you know? I had to have one terabyte hard drive here now did over five hundred you know? We had five hundred four, so I was thinking like, do I put this on a separate hard drive? Ideally, I would have put some of the content on the separate hard drive, but I think I'll get me ideal in the several on this I thought let me just put it all in this I've got it here actually whatever two hundred gigabytes free, so yeah, germany is good to keep for me I haven't toldem intended dr
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