KSHMR teaching:-

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I. Mixing 101:-

1).We have Prioritizing our mix before making adjustments of volume, panning,
EQ.etc. It means
that we have to choose a particular element in any part which has to be in
Leads its can be
sometimes an Vocal,Leads,Bass,Kick.etc. Which totally depends on ous. And then
decide what
adjustments we have to make with them, like we can adjust the volumes, we can
choose it be
more stereo or mono if we want or we can also EQ to remove some unwanted
frequencies.

2).We can use pan to give elements their own space instead of doing EQ or adding
effects
to the particular instruments which are fighting for space, which are probably
in same space.

3).Simiplicity in the instrumentation of your tracks or adding less elements can

make mixing
decisions much easier, based off the factthat there are simply elemets fighting
for the same
space.Simplicity also allows for easier prioritization(choosing main sound in
particular part
in our track), again as there are less elements you have to prioritize in
general. For this
reason, a good rule of thumb when creating a song is to achieve the most
possible with the
least amount of elements posssible

4).With new sections comes new responsibilities!!.

5).The kick and bass, and their relationship to one another, has been a topic of
interest in
mixing for as long as mixing has been around, and for good reason the kick and
bass are both
very important elements in the track, and they both occupy a similar frequency
range.In many
cases, the kick should have slightly more priority over the bass, so a good
place to start when
mixing the two is by making sure the kick is a little louder than the bass.
Another way to
think about the relationship between kick and bass, is the kick provides the
punch, while the
bass provides the sustain.Also we can EQ by ducking the frequency of bass wher
kick lies.

6).We can use the Frequency masking which is a concept that addresses a problem
you face when you
have two or more elements occupying the same frequency range. To deal wiith the
problem of
frequency masking,again, you first must have a sound you want as the priority,
and another
sound that you want to get out of the priority.On your decided supporting
elemts, inster an EQ
aand begin to sweep a bell curve boost around the spectrum until you have
identifies an area
that conflicts with your priority sound.Once you have found this frequency
band, you can now
use that same bell curve or boost curve, but instead of boosting those
frequencies, cut/duck
down them.This gets these specific frequencies out of the way of your priority
sound, creating
more space in your mix for those things that nees it the most.

7).Use sidechain on bass to avoid clashing with kick also after ducking bass
frequecies where kick
lies,we can not only use sidechain in drop but also we can use sidechain on
other parts of
tracks like in Break.

8).As you begin to introduce new sections in your arrangement, you will likely
begin to add new
sounds with along with them. It is often appropriate to prioritize those new
elements in your
mix. keep in mind that the priorities in your mix will likely evolve to bes
suit whatever is
happening in your song at a given time. Aa you begin to introduce new sections
in your
arrangements, you will likely this evolution in priorities creates a more
dynamic and evolving
track as whole, which results in a much more exciting listening experience.

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II. Mixing Drums:-

1).Prioritizing your drums elements from the start will allow you to make more
informed decisions
on colume and stereo placement, the kick is almost always the top priority in
our drum group,
followed bt the claps and snares.

2).Small differences in timing and panning across layered drum sounds can create a
thicker and
wider sound, while simultaneously creating more space for each element in your
mix.

3).Often times it is best to try and find one sample to accomplish a purpose,
however in the
instance of claps, you can usually get away with layering several samples
together to achieve
a larger, thicker overall clap sound.

4).Using reverb and delays deliberately on only certain elements of your drums
will create this
contrast between sounds that appear close, and sounds that appear far away.

5).Shakers and hi hats can often be layered together to act as one overall sound.
Sharks
traditionally have softer attacks than hi hats, which when layered with a hi
hat, can help
soften the overall attack of the two together.

6).Drum sample selection plays a big role in the perceived genre if your
track,however,they are
not hard and fast rules.

7).Try to create and add drum transitions which can be a reverse(can add reverb to
that reverse
sample) of an cymbal or ride which can fill the gap in certain points becuase
kick and clap
can sound bored without moving or in places where the it sounds quiet.

8).Not only is drum sample selection crucial in creating a specific vibe for your
track, being
ablt to effectively layer and process them, both individually and as group, is
very important,
by applying both familiar tactics like volume control and panning, along with
more advaced
techniques like group/bus "Glue Compression, Parallel compression, and
saturation(tape saturation.etc)
you will be able to achieve the drum sounds that you want in your tracks.

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III. Mixing Bass:-

1).The bass will always be one of themain elements of your track, which wen mixed
properly, will
provide a much needed foundation for the rest of the elements.

2).Sub and bass are important element in are track and help us to make easier
mixing decisions because
of their different frequency range, but make sure they do not lies on same
frequency range, EQ them
so that they can't rub on each other.

3).Sidechain on sub is more important then top bass becuase sub lies on same range
as kick.

4).While layering top bass, try to EQ them to give every top bass their own space
which on their different
frequency range.

5).Make connect all top bass to a channel bus and add some distortion like "Tape
Distrotion" to add more
harmonics in our bass, we can also use multiband distortions to only give
distortion to certain frequencies.

6).Try to be simple with your sub, the simple the sub the powerful it will sound
but using sidechain is
mandatory.

7).Try to add some "Note Accents" which means allowing only certain instruments to
perform accent notes is great
way to emphasize the musical information, In other word, some notes of certain
bass sound will only play on certain
times like only one sound at certain points to make it more intereseting, this
helps to keep your song from getting
stale and predictable.

8).Try to add some different octave notes in your bass instead of all bass are
playing the same notes, this will the
a chord progression type of effect or power to make it more interesting and
powerful.

9).If we have a long kick then that can its can be problematic to our bass, to
avoid this we can put an LFO tool in
our kick and we can remove the decay of the kick will a little slide(not like a
wall band) so that it can land on
bass perfectly, that's how we can avoid things to sound too boomy.

10).Traditional way of sidechain is to use Analog style Sidechain Compress to

sidechain. Another way of applying these
Sidechain is to first add LFO tool on kick and create a perfectly LFO table
which is probably duck left side and going
upwards on right side, After create an LFO graph which perfectly cut Kick from
left side in LFO Graph, Move this LFO
to bass channel, in this way we get a perfect sidechain which allows Kick and
bass to work seperately. We can also use
Volume shaper(Multi-band sidechain) for this in which we have two bands, which
are low band and for high band,select two band
option from upper section and seperate the Low and high band but takes the
left line knob in center(this knob will be on
left side inside a little box and their will be two knobs but we have to chose
the left one) and first click on high band from
upper section and create a fast sidechain LFO which have to be close where the
kick is hitting, and then click on Low band and
create a lazy LFO which almost shit's in the middle of the LFO Graph, by doing
we have a gap between high and low band, where
high's comes first after the sidechain and then comes Low's.

11).It is always important to remember to mix elements not only on their own, but
also in context of everything else that is playing
in your track. It is only when you do this that you begin to realie how all of
your different elements in your track affect each
other.

12).While mixing bass and leads our priority is leads so we have to cut some of
the high frequency on bass to more space to the leads.

13).When mixing bass, it is important to think about the stereo field of not only
your bass, but of all other elements in your track
Traditionally, low end information should be in more infront of your stereo
field, allowing higher frquency elements to be more
freely occupy those wider areas of your mix, for example in drop leads are the
priority, reducing the stereo spread of your bass
will leave more space for your leads without sacrificiong the overall presence
and power of your bass.

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IV. Mixing Vocals:-

1).First we need to comp(comping is the process of finding or selecting all of the

best parts and cutting out all of them from your
recording takes, and creating a single take by arranging the best cut parts
from the recorded takes one by one which will probably
take alot of time and final result represents all of the best performances).

2).Then we should do EQ matching which is a process where an EQ analyzes the

frequency content of one source so you can then apply it
to other sources this technique can be very helpful when making vocals recorded
in two different studios sound like they were recorded
in the sample place.

3).After it is important to make sure that all of your vocals in your song are
generally around the same volume before sending them to any
overall processing.this will help create a more consistent sound, and will
allow your processors later on to do their jobs more efficiently.

4).Then we can manually correct the pitch using tools like(Newtune from
FLstudio,Melodyne from abelton). Now it is good to go without any pitch
issues.

5).Add pitch correction Autotune, even if the vocals has a well correct or on
pitch. It will give the vocal a nice effect.

6).Add EQ to cut the unwanted low's and also boost the area where the content fo
vocal is lacking, and also an added benefit of adding or
boosting tastefull amount of low end(e.g.134hz) to your vocal is the effect
that the singer is closer to you and also some on high section to
get the air frequency.

7).We can do Staged compression which means indtead of using one compressor that
is working very hard to control the dynamics, sometimes it is
best to use a series of compressors with less aggressive settings to achieve
the desired amount of dynamics control. When using staged
compresssion , it is best to try and find different compressors with different
effects to achieve the sound you are looking for in the
most transparent manner, but sometimes even using a very extreme compressor in
a subtle way can help bring out some bite in your vocal.
So here what KSHMR used is the soft compression first like "Waves CLA-2A
compressor", then again a "Waves Rvox compressor", then a Extreme

compressor which is "Waves One knob pressure" here we used three stages of
compression.

8).Next a parallel compression using "TheGlue compressor".

9).Now we can use Vocal double to get then wider sound to left and right.

10).Now we can add Reverb and Delay, it can be used in two main ways, to make the
vocal sound like they are in a physical space, and as a
creative effect, The physical means we have can add reverb and delay lightly,
not like it have a vaccum but have some space around, else
if we wanna use it a quiet harder to create big space it totally depends on us
but not recommended! to use it harder for good sounding vocals.
and now if we see creative effect it means we use automations of reverb and
delay on certain where it needed(like where the vocals stops singing)
this method helps your song to be stay fresh and interesting by creating a
contrast that is very pleasing to the listeners ear

11).Then we can add some EQ and effect if we wanna add after this and that it.

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V. Drop Mixing:-

1).In drop their are many elements so we have to think priorities, which in drop
can be Kick,then bass,then leads.

2.)First we havee to mix Kick and the sub by using sidechain (also can use
compressor sidechain) and Even EQ if needed and If you kick is long then it can
create conflict with your sub so its best to cut the decay of the long kick by
using tools like "LFO tool" so that they don't rub on each other and sit
perfectly in their frequencies.

3).We Layering both sub and bass together, you're bass will likely also contain
sub ferquencies. It is best to EQ out much of the sub information from your
bass to ensure that your sub has the space it needs.Sometimes just low cutting
the bass on its own will make the bass sound thinner, so it is okay to
boost frequencies above the low cut to make the bass remain powerful, while
still being out of the way of the sub.

4).Now If our bass sound wider it can create problems with the leads so we have to
make the bass in more front to make the stereo space for Leads,and other
instruments which needs to be in wider sound.

5).Now comes the leads part, here it is certainly not bad to solo group or
particular sounds to listen and we have to make sure you get the fine tunning
correct,
this also not enough we also have to check wheather the elements we are listen
solo is fitting in a mix with other elements or not, and adjust where that
particular
instrument is lacking with other elements like in volume, in stereo.etc.

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VI. The Science of Good Melodies:-

1).The Pentatonic scale is a very popular scale used to make catchy melodies and
awesome melodies.

2).If the notes are in Major then it is the "Major Pentatonic Scale" which is 5-
note scale, consisting of the 1st , 2nd , 3rd , 5th , 6th notes or scale degree in
Major scale.
for example we have melodies in "C Major" then the notes or scale will be
C,D,E,G,A.

3).If the notes are in Minor then it is the "Minor Pentatonic Scale" which is 5-
note scale, consisting of the 1st , 3rd , 4th , 5th , 7th notes or scale degree in
Minor scale.
for example we have melodies in "C Minor" then the notes or scale will be
C,E,F,G,B.

4).Don't do high jumps in melodies only in part or 4bars, it can make it

unconsistent and undigestive for the listerners. If decide to incorporate larger
jumps within your melodies,
then repeating these high jumps within your melody or melodic phrases can help
reinforce these notes, make the melody more catchy and also it becomes consistent
and digestive for
the listerners.

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