Producer-Tips - Ebook-1

Music Production Biz
PRODUCER TIPZ
A collection of music production tips and tricks
INTRO
First of all, I would like to thank you for purchasing my products. It keeps me motivated
to deliver the highest quality content possible.
Second, keep in mind that if you don't help yourself, none can. Becoming a great music
producer takes commitment, hard work, and dedication. Therefore, reading this ebook
without putting it into practice won't get you anywhere. You will probably forget
everything the next day. I highly recommend reading and practicing one trick at a time
before moving to the next one.
If you have any difficulty understanding a specific topic, please don't hesitate to reach
out and contact me:
through
T h i s s e r v i c e i s o n l y a v a i l a b l e f o r p a id e b o o k s ( lif e t im e
b o o k z , t i p z 1 . 0 , t i p z 2 . 0 , e t c . ..
or via email:
I will ensure that I respond to every DM or email (provide your purchase order number
and a screenshot of the trick in question). But please be specific with your question
and don't send demos since I will provide a specific section for demos and live
feedbacks for existing customers.
musicproductionbiz.com
BEFORE YOU START, KNOW THAT ...
PLUGINS USED IN THIS EBOOK

For the infographics, I use random plugins screenshots, but you can achieve any trick
using the EQ, compressor, distortion plugins you already own. You can do a fantastic
job using your DAW stock plugins.
AN EBOOK FOR BEGINNERS & ADVANCED

In music, the same effect can be achieved in multiple ways. My goal is to help both
beginners and advanced producers understand what I am talking about. So, if you can
recreate the same trick more efficiently, then do it (ex. return track instead of
duplicate).
USE WHAT YOU NEED

Remember, every mix is different, and every sound is distinct. Every processing is
context-dependent. I am trying to give you as many tools as possible to fix your mixes.
But, it doesn't mean that you will need to use all these tips and tricks on every mix. Only
use the ones that can help you fix what you are working on.
THESE ARE ONLY GUIDELINES

In addition, not every kick or vocal sound the same, so take each tip or trick with a
pinch of salt. For example, if I tell you boosting the vocals around 12 kHz will add air, it
might be 10 kHz in your case, or your vocals could be already bright, so be open to
tweaking the trick to your liking. Again, these are not absolute rules but guidelines.
RECOMMENDED FREE PLUGINS
A LIST OF FREE & USEFUL PLUGINS
VINYL IMAGER 2
LO-FI PROCESSOR STEREO TOOL
IZOTOPE IZOTOPE
SPAN SATURATION KNOB

SPECTRUM ANALYZER SATURATION
VOXENGO SOFTUBE
BITTER SWEET PANCAKE

TRANSIENT SHAPER AUTO PAN
FLUX CABLEGUYS
TABLE OF CONTENT
1/2
PRODUCER GUIDE VOCALS TIPS & TRICKS
PRODUCER MISTAKES - PART 1 VOCALS CONSISTENCY
FINISH MUSIC FASTER - PART 2 VOCALS DENSITY
MACRO & MICRO PLANS SIDECHAIN THE VOCALS EFFECTS
SKILLS OUTSIDE MUSIC 2 VOCALS MAIN FREQUENCIES
MUSIC THEORY DRUMS TIPS & TRICKS
CHORD INVERSION HUGE TOMS
CHORDAL TENSION KICK TUNING
PENTATONIC MAJOR SCALE SMALL KICK GROOVE
SUSPENDED CHORDS STANDARD CYMBALS EQ
PRODUCTION TIPS & TRICKS MIXING CONCEPTS
PIANO ATTACK AUDIO ENGINEERS VOCAB 1
SAMPLE KEY COMPRESSOR RATIO
AVOID NOTES CLASH HEADPHONES VS SPEAKERS 2
MELODY CALL & RESPONSE FUNDAMENTAL X HARMONICS
BASS TIPS & TRICKS MIXING TIPS & TRICKS
BASS LAYERING BIGGER NOT LOUDER
BASS MIDI SIDECHAIN ADD PUNCH
BASS & KICK LENGTH CLEAN MIX INSTANTLY
BASS MIDI TRICKS GUITARS & KEYS PUZZLE MIX
TABLE OF CONTENT
2/ 2
MASTERING
MASTERING FACTS
MASTERING COMMON MISTAKES
LO-FI MASTERING CHAIN
VINTAGE TAPE SATURATION
PRODUCER GUIDE
Simple guidelines to help you grow, be more productive, avoid common producer
mistakes, and put you in the right direction.
PRODUCER MISTAKES - PART 1
THE BEGINNERS MISTAKES
Please avoid these mistakes that we are all guilty of:
NOT STARTING TODAY

Stop wasting your precious time; the clock is ticking. If you don't start today, if you don't
start now, tomorrow you probably won't.
EXPECTING FAST RESULTS

As discussed earlier, it takes time. You have to be patient and be in love with the
process. You get better with time, believe in yourself, and never give up.
WORRYING ABOUT EQUIPMENT

Start with what you already have. If you're reading this, you probably have a computer
and internet connection, and that's enough to start and grow.
COMPARING YOUR MUSIC TO THE PROS

When listening to your favorite artist's music, use it as a reference and learn from it.
Always compare your tracks today to your older ones. Comparing them to the pros
can easily frustrate you.
Long story short, start today with the equipment you already have, invest time learning,
and start investing money on gear once you're consistent.
FINISH MUSIC FASTER - PART 2
BE MORE PRODUCTIVE
LOOPS & PRESETS

You don't have to be the drummer, the sound designer, the producer. Your main goal is
to take an idea in your head and lay it down. So it's ok to use presets and loops.
ORGANIZE SAMPLES
Organizing your samples helps you keep the sounds you need and know where to go
when adding a specific element to the track.
REFERENCE TRACKS
Reference tracks could be a great tool to inspire you and let you know what the track is
missing to act faster.
TEMPLATES
Templates are great to avoid re-doing the same decision repeatedly on every track. If
you know that you will use these sounds in every session, it's better to make a template.
You can have multiple templates depending on the mood and the music style.
SHORTCUTS
Learn your DAW shortcuts to reach what you're trying to achieve faster. You will spend
less mental energy on stuff that doesn't have to do with the actual song.
ARRANGE ON THE GO
Start arranging while putting down ideas. Don't fall for the 8-bars loop trap. By
spreading the 8 bars loop over the full timeline, you will be more motivated to finish the
track.
MACRO & MICRO PLANS
ORGANIZE YOUR GOALS
GETTING LOST
So you wake up, and you don't know where to start, then you open Netflix or play video
games, the day ends, you go to sleep.
That's a vicious circle every producer I know falls into it. It's an enormous time waster. It
might take you weeks to get over it. But how can you avoid it? Well, the answer is to set
a macro plan and then break it down into micro plans that help you reach this big
goal.
MACRO PLAN
The macro plan is the big image, the ultimate goal. For instance, become a great
producer. But this takes time, and it's a distant goal. So if you wake up every day
waiting to achieve it, you can get frustrated and quit.
You need to sense that you have achieved something every day, every week, every
month. This generates positive emotions and confidence that help you move forward.
But how? Well, break down the macro plan into smaller micro plans.
MICRO PLANS
Micro plans are small plans that add up and help you reach the ultimate macro plan.
So let's say you want to become a music producer. First, break down the stuff you need
to do to reach this goal. So, you have to learn how to use a DAW, analyze songs, train
your ears, learn to mix, sound design, mastering.
Start here. Let's say the first goal is to learn the basics of the DAW in one week. That's a
reachable goal. The following week say you want to remake a song. The week after
learning how to use a specific plugin ... Finding yourself achieving these small goals
help you stay positive, confident, and believe more in yourself.
SKILLS OUTSIDE MUSIC 2
PART 2
Here are some skills that can help you make an income even if you don't have the
budget to start a new business.
TIME MANAGEMENT
Learn how to manage your time, how to stay focused. A schedule
can help a lot. You can get things done faster and achieve more
goals in your life.
GRAPHIC DESIGN
You don't have to be professional. Just learn the basics to create
high-quality content. This is useful at the start when you can't afford
to hire someone else to do it for you.
WEBSITE BUILDER
Many online website builders apps help you create a website in no
time using templates and zero coding. This also saves you so much
money at the start.
EMAIL MARKETING
Learn how to build a relationship with your fans and clients. A very
effective way to stay connected. You will need a landing page to
collect emails and an email marketing provider to manage your
audience and send emails.
MUSIC THEORY
Practical and straightforward music theory-related topics that help you compose
music with ease.
CHORD INVERSION
SMOOTH OUT YOUR CHORD PROGRESSIONS
ROOT INV 1 INV 2 ROOT
OVERVIEW
Smooth out your chord progressions using chord inversions. You will keep the same
notes but change their vertical order by transposing the bottom note of each position
an octave higher.
The chord keeps the same name (ex. Cmaj), but the sound and feel will slightly
change.
Inversions help piano players keep their left hand in a steady position while playing.
EXAMPLE
I n t h i s e x a m p l e , y o u s e e t h e 2 in v e r s io n s f o r t h e C m a jo r c ho rd :
Root position C - E - G
Inversion 1 E - G - C
Inversion 2 G - C - E
CHORDAL TENSION
BUILD EXCITEMENT
Chordal tension is the most powerful way to create tension. You can achieve it by
either:
LOOPING THE FIRST CHORD

It's all about deviating from the established chord progression. For example, you can
loop the first chord in the build to create tension and return to the main progression in
the drop. It's a common technique to create a dramatic effect.
DECEPTIVE CADENCE
This occurs when a chord other than the tonic follows a dominant chord. It helps
surprise the listener by going into an unexpected chord.
PENTATONIC MAJOR SCALE
W|W|W+H|W|W+H
C C# / Db D
D# / Eb E F
F# / Gb G G# / Ab
A A# / Bb B
H = half step
W = whole step
# = sharp
b = flat
SUSPENDED CHORDS
SUS2 & SUS4
Cmaj Csus2 Csus4
A s u s p e n d e d c h o r d i s a m u s ic a l c h o r d in w h ic h t h e t h ird is o m itte d a nd
r e p l a c e d w i t h a p e r f e c t f o u r t h o r a s e c o n d . T h e la c k o f a m in o r or a
m a j o r t h i r d i n t h e c h o r d c r e a t e s a n o p e n s o u n d , w h il e the d is s o na nc e
b e t w e e n t h e f o u r t h a n d f i f t h o r s e c o n d a n d r o o t c r e a t e s te ns io n.
F o r i n s t a n c e , t h e C m a j c h o r d is c o m p o s e d o f C - E - G .
C s u s 2 c h o r d w i l l r e p l a c e t h e E w it h o n e lo w e r d ia t o n ic no te , in this c a s e ,
the D, to create a sus2 chord. So you get C - D - G.
A C s u s 4 c h o r d w i l l r e p l a c e t h e E w it h o n e h ig h e r d ia to nic no te , in this
case, the F, to create a sus4 chord. So you get C - F - G.
C r e a t e t e n s i o n i n y o u r s o n g s b y a d d in g a s u s p e n d e d c ho rd w ithin y o ur
chord progression.
PRODUCTION TIPS & TRICKS
Practical and straightforward music production tips and tricks to help you step up your
productions by adding simple details to your music and sound more like the pros.
PIANO ATTACK
ADD SHARPNESS TO RHYTHMIC PIANOS
T h i s t r i c k h e l p s y o u a d d s h a r p a t t a c k a n d d e f in it io n to y o ur rhy thm ic
piano pattern.
A - DUPLICATE
Duplicate the original piano midi pattern and make
the midi notes shorter.
B - ATTACK
Add a transient shaper on the new duplicate to make the attack
sharper.
C - MIX
Mix the new piano pattern with the original one by setting their
volumes to taste.
You can simplify this trick by using the transient designer right away without the
duplicate, but you won't have complete control over the shape of the attack.
SAMPLE KEY
HOW TO FIND THE KEY OF ANY SAMPLE?
Y o u c a n f i n d t h e k e y o f a n y s a m p le o r h it u s in g V o x e ng o S P AN ( f re e
plugin).
A - HIGH RESOLUTION
In Span, use the high-resolution mode. You can find the mode in
the top right corner of the spectrum analyzer.
B - LOUDEST PEAK
Place the mouse pointer on the loudest peak in the low or low mids
part of the spectrum.
C - CHECK THE NOTE

Check the note displayed on the analyzer in the top left corner.
This helps you tune everything to avoid notes clash in the track. You can use it on
drums (kick, snare, percussions), FX hits, synth one-shots ...
AVOID NOTES CLASH
START WITH YOUR FAVORITE INSTRUMENT
Full Midi
Lead Melody Chords Bass
T o a v o i d n o t e s c l a s h , m a k e s u r e t o p r o g r a m t h e m e lod ic a nd ha rm o nic
c o n t e n t u s i n g y o u r f a v o r i t e in s t r u m e n t ( e x . p ia n o ) , a nd the n b re a k it
down into parts (top melody, chords, bass).
O n c e y o u b r e a k i t d o w n , y o u w ill a d d e a c h p a r t t o it s s o und a nd m ix it
with the others.
T h i s w a y , y o u e n s u r e a l l t h e n o t e s w o r k w e ll t o g e t h e r .
MELODY CALL & RESPONSE
SIMPLE TRICK FOR COMPLEX ARRANGEMENT
I n s t e a d o f p l a y i n g t h e m e l o d y w it h t h e s a m e s o u n d , y o u c a n s p lit it a nd
p l a y t h e c a l l ( q u e s t i o n ) w i t h o n e s o u n d a n d t h e r e s p o n s e ( a ns w e r) w ith
a n o t h e r s o u n d . A v e r y i n t e r e s t in g w a y t o b u ild a c o n v e rs a tio n b e tw e e n
a l l t h e d i f f e r e n t p a r t s o f t h e m e lo d y .
T h i s m i g h t n o t w o r k o n s o m e m e lo d ic s t r u c t u r e s . S o t r y it to f ind o ut if it
works or not.
A - SPLIT THE MIDI

S p l i t t h e m e l o d y i n t o t w o p a r t s : t h e c a ll a n d
the response.
B - CALL
A d d t h e c a l l t o a n e w t r a c k , a n d p la y it w it h
a new sound.
C - RESPONSE
Add the response part to another track and
p l a y i t w i t h a d i f f e r e n t s o u n d t h a t f it s w e ll
with the call sound.
BASS TIPS & TRICKS
Practical and straightforward bass mixing and production tips and tricks to master one
of the most essential elements in dance music.
BASS LAYERING
GIVE EACH LAYER ITS OWN SPACE
W h e n l a y e r i n g b a s s l i n e s , m a k e s u r e e a c h la y e r f ills a s p e c if ic a re a in
t h e f r e q u e n c y s p e c t r u m : l o w , m id , h ig h .
O n l y o n e l a y e r c a n p r o v i d e t h e s u b f r e q u e n c ie s . O t h e r w is e , y o u m e s s up
t h e m i x ( H P f i l t e r t h e t o p & m id la y e r s ) .
Y o u d o n ' t n e c e s s a r i l y n e e d m u lt ip le la y e r s , b u t in c a s e y o u d o , this is a n
easy way to mix them.
LAYER 03 - HIGH
T h i s l a y e r w i l l p r o v i d e t h e t o p a ir y o u r b a s s
n e e d s t o c u t t h r o u g h t h e m ix a n d b e a u d ib le
on small sound systems.
LAYER 02 - MID
The mid-layer will provide the punch your bass needs
to hit harder.
LAYER 01 - LOW
This is the main layer, the one that provides the sub
size and vibration.
BASS MIDI SIDECHAIN
USING VELOCITIES & MIDI NOTE LENGTH
Sidechain is an essential tool to get a clean low end, but you don’t always necessarily
want that pumping effect you get.
These four steps can help you emulate the way sidechain works, but more subtly, to
make your bass sound more organic:
A - DECREASE THE VELOCITY

Decrease the velocity when kick and bass play together.
B - MIDI LENGTH
Make the sub bass notes shorter and cut it before the kick hits.
C - BASS & KICK TAIL OVERLAP

S l i g h t l y d e c r e a s e t h e v e l o c it y w h e n t h e n e w b a s s n o te
overlaps with the previous kick tail.
D - SIDECHAIN COMPRESSION
Once done, you can add a gentle transparent sidechain when
mixing and still get a clean low end.
BASS & KICK LENGTH
HOW TO GET A CLEAN LOW END?
Sub frequencies are huge. It 's hard to p la y two s ub - e le m e nts

simultaneously.
T h e k i c k a n d b a s s o c c u p y t h e s a m e s u b - f r e q u e n c y r a ng e . S o y o u ha v e
t o d e c i d e w h i c h o n e o f t h e m d r iv e s t h e lo w e n d .
O n e w a y t o a v o i d t h e c l a s h b e t w e e n t h e t w o is t o c ho o s e a s ho rt k ic k
w h e n y o u h a v e a l o n g b a s s p la y in g , a n d v ic e - v e r s a .
LONG BASS
When you have a long bass, use a
short kick
LONG KICK
When you have a long kick, use a
short bass
BASS MIDI TRICKS
SPICE UP YOUR BASS
Most producers think that the bass is only there to support the hook on top of it. But in
fact, the bass can be a hook on its own.
These midi tricks can help you spice up your bass pattern and take your track to the
next level.
OCTAVE JUMPS
I n s t e a d o f p l a y i n g t h e s a m e n o t e t w ic e in u n is o n , c r e a t e
o c t a v e j u m p s b y p l a y i n g t h e s a m e n o t e o n t w o d if f e r e n t
o c t a v e s . T h i s w i l l a d d m o r e e x c it e m e n t a n d e n e r g y t o
y o u r t r a c k . U s e t h i s o n t h e t o p b a s s a n d k e e p t h e s ub
steady.
FAST GHOST NOTES

P l a y s o m e v e r y s h o r t g h o s t n o t e s in b e t w e e n t h e m a in
bass notes to enhance the rhythm.
SWING
P l a y s o m e n o t e s o f f t h e g r id , f e w m illis e c o n d s la t e to
h u m a n i z e t h e p l a y i n g s t y l e a n d s p ic e u p t h e g r o o v e . N o
o n e w i l l d a n c e t o s t a t i c r o b o t ic g r o o v e s .
VOCALS TIPS & TRICKS
Practical and straightforward vocal production and mixing tips and tricks to master
one of the most essential, delicate, and detailed element in music.
VOCALS CONSISTENCY
VOLUME AUTOMATION BEFORE COMPRESSION
VOLUME AUTOMATION
B e f o r e p r o c e s s i n g y o u r v o c a ls , s t a r t b y a u t o m a t in g t h e
v o l u m e t o e v e n o u t t h e p e r f o r m a n c e a n d m a k e it m o r e
c o n s i s t e n t . F o r e x a m p l e , t u r n d o w n t h e lo u d p e a k s , t u rn
u p t h e q u i e t p a r t s , a n d m a k e t h e c h o r u s lo u d e r t h a n t h e
verse.
STEADY FADER
This helps you find a steady fader, making it easier to mix. There will
be no need to adjust it between sections. It also allows you to use
the same compression on both the verse and the chorus.
Otherwise, you will have to apply more compression on the verse part, ending with
even more compression on the chorus, making the vcoals sound squashed and
choked.
VOCALS DENSITY
FULLNESS & WARMTH
T h i s t r i c k a l l o w s y o u t o a d d d e n s it y a n d f u lln e s s t o y o ur v o c a ls . All y o u
have to do is:
DUPLICATE
Duplicate the original vocals or use a return track.
LO-FI PROCESSING
A d d y o u r f a v o r i t e l o - f i p l u g in a n d g e n e r a t e a ll k in d s of
imperfections.
MIX
M i x t h e d u p l i c a t e d a n d p r o c e s s e d la y e r w it h t h e o r ig in a l
b y s e t t i n g t h e i r l e v e l t o t a s t e ( if y o u 'r e u s in g a r e t u rn
track, set its level to taste).
SIDECHAIN THE VOCALS EFFECTS
THE RIGHT WAY
OVERVIEW
T h i s t r i c k s h o w s y o u h o w t o c o r r e c t ly p r e s e r v e t h e v o c a l tra ns ie nts us ing
t h e s i d e c h a i n . T h i s h e l p s y o u d e a l w it h p lu g in s la t e n c y a nd k e e p 1 0 0 % o f
y o u r v o c a l t r a n s i e n t s . A p p l y t h is t o s id e c h a in t o r e v e rb s , d e la y s , g uita rs
...
Y o u c a n g e t t h e s a m e e f f e c t u s in g t h e c o m p r e s s o r lo o k a he a d .
A - DUPLICATE
D u p l i c a t e t h e o r i g i n a l v o c a ls a n d m u t e t h e n e w g h os t
v e r s i o n . Y o u d o n ’ t w a n t t o h e a r it ; y o u ju s t n e e d it t o
t r i g g e r t h e c o m p r e s s o r s i d e c h a in .
B - OFFSET
M a k e t h i s d u p l i c a t e s t a r t s lig h t ly b e f o r e t h e o r ig in a l
v o c a l s . T h i s l e t s t h e c o m p r e s s o r a n a ly z e t h e g h os t
v e r s i o n s l i g h t l y b e f o r e t h e o r ig in a l a n d s t a r t t h e
sidechain process earlier.
VOCALS MAIN FREQUENCIES
AND HOW THEY AFFECT THE WAY THEY SOUND
H e r e ' s h o w y o u r v o c a l s s o u n d w h e n t h e y h a v e t o o m uc h o r to o little
energy in each respective frequency band.
F o r i n s t a n c e , t h e y s o u n d m u d d y if t h e y h a v e t o o m u c h b e tw e e n 250 H z
a n d 5 0 0 H z . I f t h e y h a v e t o o lit t le , t h e y la c k p o w e r , a n d s o o n.
S o y o u r g o a l i s t o f i n d t h e r ig h t b a la n c e in e a c h b a nd to g e t the rig ht
tone for your vocals.
Range Too Little Just Right Too Much
< 250 Hz Thin Body Blurry
250 Hz - 500 Hz Lack Power Warmth Muddy
500 Hz - 3 kHz Masked Clarity Nasal
3 kHz - 8 kHz Buried Presence Harsh
> 8 kHz Dark, Dull Bright Irritating
DRUMS TIPS & TRICKS
Practical and straightforward drums production and mixing tips and tricks to grasp the
core of the groove in your tracks.
HUGE TOMS
MAKE THEM STAND OUT
These four simple tricks help your toms stand out in the mix and sound more
prominent.
808 LAYER
Add an 808 layer underneath your tom to provide the sub power.
Make sure its volume envelope works well with the toms.
GATED REVERB
Add a gated reverb to place your toms in a larger space without
messing up the mix. Make sure to EQ the reverb to avoid
muddiness.
SATURATION
Subtle saturation adds harmonics and length and increases your
toms' perceived loudness.
TRANSIENT SHAPER
Finally, add a transient designer to shape the contour of the toms
and the way they hit.
KICK TUNING
THE MOST TRANSPARENT WAY
I t ’ s a t r a n s p a r e n t w a y t o t u n e y o u r k ic k a n d
p r e s e r v e i t s o r i g i n a l c h a r a c t e r . T u n in g is
e s s e n t i a l f o r l o n g k i c k s t h a t p r o v id e t h e s u b
to make them sit well in the track and work
w i t h t h e m e l o d i c e l e m e n t s o n t o p o f it .
T o d o s o , i n s t e a d o f t u n i n g t h e f u ll k ic k , y o u
w i l l t u n e t h e k i c k t a i l w h e r e t h e k ic k k e y lie s .
A - DUPLICATE THE ORIGINAL

First, find the key to your kick. If it doesn't match the key
of your track, start by duplicating it.
B - SPLIT IT
Now, split it into two parts using clip fades: top & tail.
C - TUNE THE TAIL

Keep the top as is, and transpose the tail to the key of
your track.
SMALL KICK GROOVE
ACCENTUATE THE RHYTHM
C o m b i n e y o u r m a i n k i c k p a t t e r n w it h a s m a ll k ic k t o a c c e ntua te the
groove and increase the energy.
T h i s s m a l l k i c k w i l l p l a y t h e r o le o f a p e r c u s s iv e e le m e nt to c re a te the
perception of a faster groove.
M a k e s u r e i t i n t e r a c t s w e l l w it h t h e k ic k a n d b a s s p a t t e rns .
Y o u c a n a c h i e v e t h e s a m e t r ic k u s in g a t o m in s t e a d o f a s m a ll k ic k .
STANDARD CYMBALS EQ
HELP THEM SIT RIGHT IN THE MIX
This standard EQ can be applied to any cymbal sound (crash, ride,

OVERVIEW
closed hi-hat, open hi-hat).
A Cut unwanted low frequencies using a HP filter
B Cut any annoying resonance in the high frequencies
Boost the top with a high shelf or bell filter if you want
C
a brighter sound.
MIXING CONCEPTS
Here are some infographics demystifying the most common mixing tools and
concepts.
AUDIO ENGINEERS VOCAB
PART 1
BOOMY Too much lows
MUDDY Too much low-mids
BOXY Too much mids
HARSH Too much high-mids/highs
DARK Lack of high frequencies
BRIGHT High frequencies build up in a pleasant way
WARM Low-mid frequencies build up in a pleasant way
THICK Contains low frequencies
COMPRESSOR RATIO
ITS ROLE IN THE COMPRESSION PROCESS
1:1
2:1
4:1
INF : 1
THRESHOLD
Ratio determines the amount of gain reduction applied to the

OVERVIEW signal when it exceeds the threshold. You get more gain reduction
with higher ratios and, thus, more compression.
1:1 no compression, 4 DB above the threshold outputs 4 DB.
compression. 4db above the threshold outputs (4 x 1/2) = 2 DB.

2:1
The gain reduction is 4 - 2 = 2db = compression amount.
compression. 4 DB above the threshold outputs (4 x 1/4) = 1 DB.

4:1
The gain reduction is 4 - 1 = 3 DB = compression amount.
limiting. 4 DB above the threshold outputs (4 x 1:inf) = 0 DB. No

INF : 1
signal is allowed to go above the threshold.
HEADPHONES VS SPEAKERS 2
STEREO IMAGE
L R
W h e n l i s t e n i n g t o y o u r m i x o n s p e a k e r s , t h e le f t a n d rig ht e a rs c a n s till
h e a r b o t h s p e a k e r s . W h e r e a s w h e n u s in g h e a d p h o n e s , e a c h e a r lis te ns
t o i t s r e s p e c t i v e c h a n n e l i n is o la t io n , r e s u lt in g in a d if f e re nt p e rc e p tio n
of the overall stereo image.
FUNDAMENTAL X HARMONICS
WHAT IS THE DIFFERENCE?
Lower Upper
Harmonics Harmonics
C
C
I n t h e f i r s t a n a l y z e r , y o u s e e t h e f r e q u e n c y c o n t e n t o f a C no te p la y e d
w i t h a s i n e w a v e . T h e s e c o n d s h o w s t h e f r e q u e n c y c o nte nt o f the s a m e
C note but played with a piano.
F i r s t , y o u s e e o n l y t h e f u n d a m e n t a l b e c a u s e t h e s ine is the p ure s t

s o u n d . I t d o e s n ' t h a v e a n y h a r m o n ic s . W h ile in t h e s e c o nd , y o u s e e the
C f u n d a m e n t a l b u t w i t h h a r m o n ic s a b o v e a n d b e lo w it . T he s e ha rm o nic s
w i l l f o r m t h e t i m b r e a n d t h e f in g e r p r in t s o f t h e p ia n o s o und .
I n c o n c l u s i o n , t h e f u n d a m e n t a l is t h e f r e q u e n c y c o r r e s p o nd ing to the
m i d i n o t e p l a y e d ( i t s p it c h ) , w h ile t h e h a r m o n ic s a re the o the r
f r e q u e n c i e s a b o v e a n d b e l o w t h e f u n d a m e n t a l t h a t c o rre s p o nd s to the
sound used to play the note.
MIXING TIPS & TRICKS
Practical and straightforward mixing tips and tricks to help you achieve a clean and
clear mix.
BIGGER NOT LOUDER
PERCEIVED LOUDNESS, WIDTH & EXTRA HEADROOM
SATURATION
Saturation adds more frequencies and harmonic content to your
signal, making it fatter and brighter. It also shaves off the waveform
spikes for extra headroom.
REVERB (EARLY REFLECTIONS)

Add a reverb that consists of dry early reflections and has a very
short decay. It stretches the original dry signal and makes the
overall sound 3D. Again, it's a very short reverb; it's felt and not
heard.
STEREO MAKER
Add a stereo maker to stretch the sound and make it wider. Try to
keep it mono-compatible (Ozone Imager is free).
Using these three processing, you will create the perception of a bigger sound without
adding more peak levels using the volume fader. The meter will show the same peak
level before and after processing.
ADD PUNCH
TO ANY SOUND USING A COMPRESSOR
THRESHOLD Turn the threshold down to affect to sustain part of the signal.
RATIO Start with a ratio of 4:1.
Set the attack to be slow. Since the goal is to preserve the punch,
ATTACK
you don't want the compressor to affect the first part of the signal.
Set a medium release time. You don't want the signal to pick up
RELEASE
quickly to make the punch part more prominent.
Use an aggressive knee to let the compression start abruptly once

KNEE
the signal hits the threshold. It makes your sound more nervous.
Re-adjust the ratio to get somewhere around -6 DB of gain

FINAL STEP
reduction.
CLEAN MIX INSTANTLY
USING NARROW SOUNDS
NARROW NARROW NARROW

PANNED LEFT CENTERED PANNED RIGHT
Instead of using wide sounds to get a wider mix, use narrow

OVERVIEW sounds and distribute them across the stereo field. Here are some
panning tips:
Keep the main sounds in the center (bass, kick, snare, lead vocals
A
...)
H a v e a t l e a s t o n e c e n t e r e d e le m e n t f r o m e a c h
B frequency band (sub, low-mids, mids, high-mids,
highs)
P a n t h e o t h e r s o u n d s , b u t m a k e s u r e t o k e e p t h e le ft
C a n d r i g h t s p e a k e r s b a l a n c e d in t e r m s o f v o l u m e ,
frequency content, and rhythm
You will instantly get a mono-compatible, focused, and clear mix.

RESULTS But this tip is mainly for busy, crowded sections of the song with
lots of sounds playing simultaneously (drop, chorus ...).
GUITARS & KEYS PUZZLE MIX
USING AN EQ
M o s t o f t h e t i m e , k e y s a n d g u it a r s o c c u p y t h e s a m e f re q ue nc y b a nd . S o
t o s e p a r a t e t h e m a n d a v o i d t h e ir c la s h , a ll y o u h a v e t o d o is :
THE PUZZLE EQ
Find and boost the frequency in the mid-range that
sounds best on the piano and cut it from the guitars,
and vice-versa.
RESULTS
You will be able to give each instrument its own space in the mix for more clarity. You
can enhance this separation by slightly panning each one to the opposite side.
MASTERING TIPS & TRICKS
Practical and straightforward mastering tips and tricks to help you achieve loud,
competitive tracks that work on any sound system.
MASTERING FACTS
USE THEM EVERY TIME YOU MASTER YOUR TRACK
You have to consider these tips and facts when mastering your music. These are pretty
handy guidelines to optimize your mastering process and quality.
THE MIX
You must understand this simple truth: mastering cannot fix a bad mixed or produced
track. So make sure to fix everything before moving to the mastering stage.
BREAK
If you have time, make sure to take a break from the track you produced and mixed for
a few days. Then, come back and master it with a fresh perspective.
REFERENCE
Don't worry if you don't have access to great tools such as a treated room or a decent
pair of speakers. All you have to do is pick a track that has the exact bpm, key, genre,
and vibes of your track and use it as a reference.
MULTIBAND PROCESSING
Multiband plugins are powerful tools that give the mastering engineers much flexibility
when mastering for others. But, since you have access to the original mix, it's better to
come back and fix it in the mix unless you're going for a specific effect.
STREAMING PLATFORMS REGULATIONS

Each streaming platform has its regulation when it comes to loudness. You don't have
to follow these rules, but consider them when mastering. Sometimes, it doesn't make
sense to squash your track in exchange for extra LUFS that won't count.
STOP DOING THIS
LOUDER IS NOT BETTER

Loudness is essential to compete with other tracks on the market. But it's not only
about loudness. It's about how your track hits and its impact. So don't sacrifice your
track low end or punch by shaving off the transients for extra LUFS.
NOT EXPERIMENTING
In mastering, you never know how a boost at a specific frequency will sound or how
this type of saturation could affect your track. So experiment to come up with unique
results.
NOT THINKING BEFORE PROCESSING

Reading articles, books, and watching tutorials is a great to learn the essential
guidelines. But when working on music, you don't need to apply all the knowledge you
learned on every track. So before reaching into specific processing, try to ask yourself if
your master needs it. Everything should be on purpose.
IT'S NOT MAGIC

Mastering is not magic. It's only about this 10% left working on your track to prepare it
for release. You need to understand that mastering can never fix a bad produced track
or mix.
DON'T USE PRESETS

Never use presets on your master unless you know what you're doing.
THE LO-FI MASTER CHAIN
COMPROMISE THE QUALITY FOR THE VIBES
The goal is to sacrifice the audio quality in exchange for vintage warmth. This
mastering chain works well on lo-fi chill tracks and vintage house tracks.
DIGITAL DISTORTION
Reduce the bit depth and sample rate, thus degrading the audio
quality.
VINYL DISTORTION
Emulate tape-style saturation, and generate vinyl crackles noise.
EQ
Roll-off the high frequencies and the very low sub (< 35 Hz). Make
sure to add resonance at the filter cutoff to emulate vintage EQ
behaviors.
SOFT CLIP
Instead of a limiter, use a soft clipper to limit the master and add
loudness and fullness.
VINTAGE TAPE SATURATION
WARMER DIGITAL MASTERS
M o s t m o d e r n s o n g s a r e m a d e in t h e b o x , m a k in g t h em s o und p re c is e ,
digital, and cold.
T o m a k e y o u r t r a c k s s o u n d w a r m , e x p e r im e n t w it h ta p e e m ula tio n
p l u g i n s . T h e t a p e n o n l i n e a r it y w ill a d d s u b t le s a t u r a t io n to y o ur m a s te r.
I t r o l l s o f f s o m e h a r s h h i g h f r e q u e n c ie s a n d a d d s low - m id w a rm th to
your track.
T h e s e i m p e r f e c t i o n s a n d u n p r e d ic t a b ilit ie s a d d e d t o the s ig na l s o und s

warm to the ears.
OUTRO
I hope you have read and practiced all the knowledge provided in this ebook. I want
you to know that I appreciate the time and effort to achieve your dreams and goals. I
wish I have played a small part in your growth.
What you have learned is less than 5% of what you can learn by getting our paid
ebooks. Check our Lifetime Bookz one time subscription to get the best deal possible.
Thanks again for supporting our products. If you would like to learn more, make sure to
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products that can help you learn and make music with ease.
VISIT NOW
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TIPZ 1.0
TABLE OF CONTENT
1/3
PRODUCER GUIDE PRODUCTION TIPS & TRICKS
LEARNING STEPS ARRANGEMENT FILTERS
PRODUCTION PROS & CONS CHORDS LENGTH
WHERE TO START? ... THE DAW CONTRAST BETWEEN SECTIONS
MUSIC THEORY ESSENTIALS FILL THE TRACK
BASIC MIXING PIANO ATTACK
BASIC MASTERING CHAIN MELODY ACCENT
CONSISTENCY PITCH BENDS
PRODUCER MISTAKES - PART 1 SYNTH MOVEMENT
FINISH MUSIC FASTER - PART 1 SYNTH NOISE
TAPE STOP
MUSIC THEORY TREMOLO VS VIBRATO
CHORD INVERSION VOLUME RHYTHMIC LFO
CHORD PROGRESSIONS VIBES 1
CHORD VOICING BASS TIPS & TRICKS
CIRCLE OF FIFTHS BASS GLIDES
MAJOR SCALE BASS LAYERING
NATURAL MINOR SCALE BEST SUB BASS
POPULAR MAJOR PROGRESSIONS 1 MELODIC BASS
SUB RANGE
TABLE OF CONTENT
2/ 3
VOCALS TIPS & TRICKS MIXING CONCEPTS
PITCH VS FORMANT AUDIO ENGINEERS VOCAB 1
PANNING BACKGROUND VOCALS AUDIO ENGINEERS VOCAB 2
VOCALS CONSISTENCY COMPRESSION 101
VOCALS EQ - PART 1 COMPRESSOR PARAMETERS
VOCALS EQ - PART 2 COMPRESSOR VS LIMITER
VOCALS DE ESSER DB
VOCALS EQ CHEATSHEET DELAY PARAMETERS
VOCALS TOP AIR DEPTH 101
DISTORTION 101
DRUMS TIPS & TRICKS EQ FILTERS
808 & TOP KICK HEADPHONES VS SPEAKERS 1
CLEAN CYMBALS MONO COMPATIBILITY CHECKLIST
HUGE TOMS REASONS TO USE EQ
KICK CUTS THROUGH RECORDING SIGNAL FLOW
KICK EQ CHEATSHEET REVERB PARAMETERS
KICK LAYERING STEREO IMAGE OF SOUNDS
REVERSED CLAP GROOVE
SNARE MIX
SNARE NOISE LAYER
SNARE SIDECHAIN
UNIQUE DRUM FILLS
TABLE OF CONTENT
3/3
MIXING TIPS & TRICKS MASTERING TIPS & TRICKS
ABBEY ROAD REVERB ANALYZERS
BIGGER NOT LOUDER LOUDER MASTER
CLEAN MIX WITHOUT PROCESSING MASTERING FACTS
EQ VS COMPRESSOR SPEAKERS LEVELS
EQ CUTOFF RESONANCE TEST THE FINAL MASTER
GROUP BUSSES
MIXING STEPS GUIDE
SIMPLE DEPTH TRICKS
SIMPLE WIDTH TRICKS
SYNC ECHO
TIPZ 2.0
TABLE OF CONTENT
1/3
BAD HABITS 1 ANALOG FILTER SOUND
FINISH MUSIC FASTER - PART 2 FULL PIANO
GROW FASTER - PART 1 LAYERING TIPS
HOME STUDIO ESSENTIALS MASTER TRANSITION EFFECTS
PATH TO SUCCESS MASTER VOLUME AUTOMATION
PEOPLE YOU NEED NOTES VIBRATO
PRODUCER MISTAKES - PART 2 OPENING FILTER TRICK
PRODUCTION STAGES REFERENCE TRACKS
PRODUCTION TIPS SAMPLE KEY
PRODUCTION WORKFLOW GUIDE UNIQUE SOUNDS
UPLIFTERS FX
MUSIC THEORY
CHORDAL TENSION BASS TIPS & TRICKS
CHORD PROGRESSIONS VIBES 2 BASS CONSISTENCY
HARMONIC MINOR BASS MIDI SIDECHAIN
POPULAR MAJOR PROGRESSIONS 2 BASS TENSION
POWER CHORD TENSION BASS TRANSITION
BASS VOWEL MORPH
SUB BASS MIXING
WIDE BASS
TABLE OF CONTENT
2/ 3
VOCALS DENSITY ACOUSTIC GUITAR CHEATSHEET
VOCALS DOUBLE REVERB AUDIO ENGINEERS VOCAB 3
VOCALS EQ CHEATSHEET 2 AUDIO ENGINEERS VOCAB 4
VOCALS LOW MID BAND AUDIO INTERFACE
VOCALS MIXING CHAIN 1 CLARITY VS ENERGY
VOCALS MIXING CHAIN 2 COMPRESSION PURPOSES
VOCALS REVERB PROCESSING COMPRESSOR DEMYSTIFIED
VOCALS THICKNESS COMPRESSOR RATIO
COMPRESSOR THRESHOLD
DRUMS TIPS & TRICKS DISTORTION FACTS
DRUMS PANNING EQ FACTS
DRUMS PRODUCTION GUIDE EQ - REGULAR VS DYNAMIC
DRUMS REVERB ACCENT EQ TIPS
FAT KICK LIMITER PARAMETERS
GLUE DRUM BUS MONO SIGNAL
HI "HAT" LAYER PEAK VS RMS
HIHAT WIDTH TRICK SATURATION VS DISTORTION
KICK TUNING
SNARE EQ
TABLE OF CONTENT
3/3
ADD PUNCH ADVANCED MASTERING CHAIN
CLEANER DELAY MASTERING COMMON MISTAKES
DARK PIANO
DELAY CLOUD
DEPTH USING EQ
EQ L/R FOR WIDTH
LEVELING GUIDE
REVERB FOR DEPTH
REVERB PROCESSING
REVERB SENDS BENEFITS
SERIAL COMPRESSION
START WITH THE MAIN SOUND
THE ORCHESTRA SECTION
VOLUME MATCHING
TIPZ 3.0
TABLE OF CONTENT
1/3
EXPECTATIONS VS REALITY ADSR VOLUME ENVELOPE
FINISH MUSIC FASTER - PART 3 ATMOSPHERIC SOUNDS
GROW FASTER - PART 2 AUTOMATIONS
MACRO & MICRO PLANS AVOID NOTES CLASH
MORNING ROUTINE BIG BREAK / VERSE CHORDS
MOVE YOUR A** CHORDS MOVEMENT
SAVE CPU CREATIVE REVERB
SKILLS OUTSIDE MUSIC 1 HOUSE PIANO SOUND
SPEAKERS SIZE REVERB CHORUS AUTOMATION
WAYS TO EARN A LIVING SMOOTH ARRANGEMENT
UNCONVENTIONAL EFFECTS
MUSIC THEORY
CHORDS OR MELODY FIRST? BASS TIPS & TRICKS
CHORDS PROGRESSIONS VIBES 3 BASS & KICK LENGTH
PENTATONIC MAJOR SCALE POWER BASS
PENTATONIC MINOR SCALE PUNCHY SUB
POPULAR MINOR PROGRESSIONS 1 TIGHT LOW END
TABLE OF CONTENT
2/ 3
ADVANCED VOCALS EQ AUDIO ENGINEERS VOCAB 5
DRY VOCALS DEPTH AUDIO ENGINEERS VOCAB 6
SIDECHAIN THE VOCALS EFFECTS COMPRESSION FACTS
VOCALS & CHORDS M/S EQ COMPRESSION GLUE EFFECT
VOCALS MAIN BAND COMPRESSION COMPRESSION MISTAKES
VOCALS ON TOP COMPRESSOR ATTACK
VOCALS QUICK TIPS COMPRESSOR RELEASE
VOCALS REVERB DE ESSER EQ HIGH PASS FILTER
EQ MISTAKES
DRUMS TIPS & TRICKS HEADPHONES VS SPEAKERS 2
DISTORTED DRUM REVERB MIXING TOOLS
DRUMS DELAY ACCENT REVERB PRE-DELAY
DRUMS DISTORTION TIP SATURATION MISTAKES
HIHATS VARIATIONS THE FREQUENCY SPECTRUM
KICK PRESENCE
LEAD PERCUSSION ACCENT
REALISTIC DRUM ROLLS
SMALL KICK GROOVE
VINTAGE SNARE GATED REVERB
TABLE OF CONTENT
3/3
AUTO PAN FIXING A MUDDY MIX
BIGGER SOUNDS THE LO-FI MASTER CHAIN
BRIGHT ACOUSTIC GUITAR EQ THICKER MASTER
CLEAN MIX INSTANTLY
COMPRESSION FOR DEPTH
DANCE MIX PLACEMENT
DOUBLE TRACKING
EDM LEAD REVERB TRICK
EFFECT PANNING
FINDING THE RESONANCE
HAAS EFFECT
KICK CHECKLIST
MIX CHECKLIST
MIX FASTER
MONO COMPATIBILITY
PARALLEL COMPRESSION
REVERB COMPRESSION
REVERB SECTION AUTOMATION
SIDECHAIN TRIGGER
TIPZ 4.0
TABLE OF CONTENT
1/3
GROW FASTER - PART 3 ATMOSPHERIC CHORDS
FIND YOUR SOUND DIGITAL SOUNDS ANALOG
HOW TO REST YOUR EARS? DISTORTION FOR SOUND DESIGN
NEVER GIVE UP EDM BUILDUPS AUTOMATIONS
PROMOTE FOR FREE EDM DROP STARTERS
SKILLS OUTSIDE MUSIC 2 FILTER GATED EFFECT
KEEP IT INTERESTING
MUSIC THEORY LAYERING LEADS TRICK
ALL MAJOR CHORDS MELODY CALL & RESPONSE
EXOTIC SCALES PADS TENSION TRICK
POPULAR MINOR PROGRESSIONS 2 REALISTIC PIANO SOUND
POPULAR MINOR PROGRESSIONS 3 SYNTH PARAMETERS AUTOMATION
POWER CHORD
SUSPENDED CHORDS BASS TIPS & TRICKS
BASS & KICK EQ TRICK
BASS FULLNESS & EDGE
BASS MIDI TRICKS
BASS TRAPS
FULLER BASS
TABLE OF CONTENT
2/ 3
AVOID VOCALS X SOUNDS CLASH ADDITIVE EQ
VINTAGE VOCALS STAND OUT AUDIO ENGINEERS VOCAB 7
VOCALS COMPING AUDIO ENGINEERS VOCAB 8
VOCALS MAIN FREQUENCIES AUDIO INTERFACE
VOCAL STACKS COMPRESSION TYPES
WIDE BACKGROUND VOCALS COMPRESSOR KNEE
DISTORTION & INTERMODULATION
DRUMS TIPS & TRICKS EXPANSION TYPES
808 DISTORTED TAIL FUNDAMENTAL X HARMONICS
808 GLIDES MIXING MISTAKES
DRUMS PUNCHY TIGHT ROOM PHASE CANCELLATION
GROOVE COMPONENTS REVERB MISTAKES
HIHATS PATTERNS TRICKS
KICK COMPONENTS
KICK HOUSE PATTERN
KICK SOFT CLIP
RETRO TOMS FILL
SNARE & CLAP LAYERING
SNARE SNAP
STANDARD CYMBALS EQ
TRANSIENT SHAPERS
TABLE OF CONTENT
3/3
BALANCED MIX PANNING BIGGER MASTER
COMPRESSION & VOLUME COMPRESSING THE MIDS
CONTROL PERCUSSIVE SPIKES MASTERING CHECKLIST
CREATE SPACE IN YOUR MIX VINTAGE TAPE SATURATION
CROWDED SECTION REVERB TRICK
EQ IN SOLO
GUITARS & KEYS PUZZLE MIX
MIX BUS COMPRESSION - PART 1
MIX BUS COMPRESSION - PART 2
MIX FOR LOUDNESS
PIANO & KICK SIDECHAIN TRICK
REASONS TO USE REVERB
REVERB DAMPING
REVERB PRE-DELAY SYNC
REVERB TIPS & TRICKS
SMOOTH DELAY
SYNCED ECHO
THE LOUDNESS CHAIN
TRANSIENT FOR DEPTH
Mastering
Guide
Everything you need to learn to master your own music
TABLE OF CONTENT
1/2
THE WORKFLOW COMPRESSOR
WHAT IS MASTERING? OVERVIEW
THE MASTERING STEPS PARAMETERS
THE MASTERING CHAIN IN MASTERING
MASTERING TIPS SETUP GUIDELINES
PARALLEL COMPRESSION
PERCEIVED LOUDNESS EQ OR COMPRESSOR FIRST?
OVERVIEW
PEAK VS. RMS LIMITER
DYNAMIC RANGE COMPRESSOR VS LIMITER
PEAK VS. TRUE PEAK PARAMETERS
LUFS IN MASTERING
AUDIO NORMALIZATION EXAMPLE AVOID FAST DISTORTION
OBJECTIVES SERIAL LIMITERS
EQ DISTORTION
OVERVIEW OVERVIEW
FILTER TYPES VINTAGE TAPES
CORRECTIVE EQ MULTIBAND EXCITER
ADDITIVE EQ
POST EQ
DYNAMIC EQ
EQ TIPS & TRICKS
TABLE OF CONTENT
2/2
OTHER SOLUTIONS
STEREO MODES
L/R & MID/SIDE PROCESSING
MULTIBAND PROCESSING
MULTIBAND STEREO SHAPERS
BONUSES
ANALYZERS
COMPRESSING THE MIDS
FIXING A MUDDY MIX
LOUDER MASTER
MASTERING CHECKLIST
SPEAKERS LEVEL
TEST THE FINAL MASTER
THE LO-FI MASTER CHAIN
THICKER MASTER

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Music Production Biz

PLUGINS USED IN THIS EBOOK

AN EBOOK FOR BEGINNERS & ADVANCED

USE WHAT YOU NEED

THESE ARE ONLY GUIDELINES

SPAN SATURATION KNOB

BITTER SWEET PANCAKE

PRODUCER GUIDE VOCALS TIPS & TRICKS

PRODUCER MISTAKES - PART 1 VOCALS CONSISTENCY

FINISH MUSIC FASTER - PART 2 VOCALS DENSITY

MACRO & MICRO PLANS SIDECHAIN THE VOCALS EFFECTS

SKILLS OUTSIDE MUSIC 2 VOCALS MAIN FREQUENCIES

MUSIC THEORY DRUMS TIPS & TRICKS

CHORD INVERSION HUGE TOMS

CHORDAL TENSION KICK TUNING

PENTATONIC MAJOR SCALE SMALL KICK GROOVE

SUSPENDED CHORDS STANDARD CYMBALS EQ

PRODUCTION TIPS & TRICKS MIXING CONCEPTS

PIANO ATTACK AUDIO ENGINEERS VOCAB 1

SAMPLE KEY COMPRESSOR RATIO

AVOID NOTES CLASH HEADPHONES VS SPEAKERS 2

MELODY CALL & RESPONSE FUNDAMENTAL X HARMONICS

BASS TIPS & TRICKS MIXING TIPS & TRICKS

BASS LAYERING BIGGER NOT LOUDER

BASS MIDI SIDECHAIN ADD PUNCH

BASS & KICK LENGTH CLEAN MIX INSTANTLY

BASS MIDI TRICKS GUITARS & KEYS PUZZLE MIX

MASTERING COMMON MISTAKES

LO-FI MASTERING CHAIN

VINTAGE TAPE SATURATION

Please avoid these mistakes that we are all guilty of:

NOT STARTING TODAY

EXPECTING FAST RESULTS

WORRYING ABOUT EQUIPMENT

COMPARING YOUR MUSIC TO THE PROS

LOOPS & PRESETS

ROOT INV 1 INV 2 ROOT

LOOPING THE FIRST CHORD

Cmaj Csus2 Csus4

C - CHECK THE NOTE

Lead Melody Chords Bass

A - SPLIT THE MIDI

A - DECREASE THE VELOCITY

C - BASS & KICK TAIL OVERLAP

Sub frequencies are huge. It 's hard to p la y two s ub - e le m e nts

FAST GHOST NOTES

Range Too Little Just Right Too Much

< 250 Hz Thin Body Blurry

250 Hz - 500 Hz Lack Power Warmth Muddy

500 Hz - 3 kHz Masked Clarity Nasal

3 kHz - 8 kHz Buried Presence Harsh

> 8 kHz Dark, Dull Bright Irritating

A - DUPLICATE THE ORIGINAL

C - TUNE THE TAIL

This standard EQ can be applied to any cymbal sound (crash, ride,

A Cut unwanted low frequencies using a HP filter

B Cut any annoying resonance in the high frequencies

BOOMY Too much lows

MUDDY Too much low-mids

BOXY Too much mids

HARSH Too much high-mids/highs

DARK Lack of high frequencies

BRIGHT High frequencies build up in a pleasant way