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In this course, author Bobby Owsinski reveals industry tips, tricks, and techniques for producing professionally mixed audio on any digital audio workstation. He offers recommendations for setting up an optimal listening environment, highlights the most efficient ways to set up and balance a mix, and shows how to build a powerful sound with compression. The course also explains how to master the intricacies of EQ; incorporate reverb, delay, and modulation effects; and generate the final mix.
If you listen to hit records from the '50s, '60s and '70s, the bass was the foundation of the songs, not the drums. A lot of old-school engineers still like to start from the bass and then build their mix around it. In this video, I am going to show you how to do just that. The first thing we are going to do, just like we did before when we were mixing from the drums, we are going to bring the bass level up so it's about -10 on the master mix meters. (music playing) Now it's going to peak a little above and go a little below. This is just an average.
Now let's bring the kick so they are up just about the same level. (music playing) Now take notice, when the level is the same between the kick and the bass, you are going to see the master mix level meters increase by about 3 dB, so that means if we started around 10, it's going to be some where around -7.
So take a look. That's just about where we're at now. (music playing) Okay, now we are going to bring the snare up so it's just about the same level as well. (music playing) Now, we are going to proceed with building our mix just as we did before with the drums, only now we are going to build everything around the bass sound.
In order to hear the overheads and the cymbals, what we are going to do is go again to where our drum fills are. So we are going to hit Command+5 or Ctrl+5 to bring up our Memory Location window and select Drum Fill. That should take us to the place in the song, and let's build the mix from there. (music playing) Let's go back and I will bring our toms up. (music playing) And now let's bring the hi-hat in. (music playing) Once again, when we're bringing the hi-hat in what we are trying to do is just increase the definition.
And now finally, we will bring the room sound in, once again just to the point where we can hear it. (music playing) Now what this does is it makes sure that the bass is always up in front of the mix when we build it this way. Now again, everything is going to change somewhat as soon as we begin to EQ, as soon as we begin to compress the various channels, and even when we will begin to add some effects, but those should be minor tweaks from where we are at right now.
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