Also, find the very few plugins you like, and DECLUTTER! Ever since I found U78 Saturator, I never wanted another saturator. I know what it does, and it's EASY. Determine what you want to do with your workflow. Do you want quick dial in and go, or do you want to finely tune every parameter. I like the former. Orient all your plugins around that. For instance, I've used EZQ for years. It literally just creates bumps and cuts. It's really balanced, and the workflow is intuitive, drag the cursor until you hear what you want. Done. I have a go-to vocoder, OVox, and a go-to re-pitcher, Melodyne (which came with my DAW) I de-noise my recordings OUTSIDE THE DAW in RX10 because it just works. I don't need de-essers and all these vocal cleaning plugins. I do it externally. Then and only then do I bring them into the DAW for colorization and processing. Don't expect your plugins to be miracle workers. Feed them quality, and they will thank you.
Buying plugins is the best way to understand them. After I bought trigger 2 I squeezed the crap out of it and used every feature down to the sidechain trigger.
Nice video! I noticed you keep mentioning compression when talking about how deep or far away a sound source is buried in the mix. I think just gain alone will bring something more forward/backward, and of course compression can have an effect on perceived volume. I think compression is the most incorrectly taught piece of music production, especially on RUclips. I'm by no means the god of understanding, but check out a few vids by Dan Worrall; I think compression shapes a sound by lowering volume which changes the perception of the transients. The most helpful thing for me to understand this, was to compare the exact same sound with a compressor and without, but making sure the overall volume is the same (so also set a gain plugin after your compressor to lower the volume to the original). We have a tendency to prefer louder sounds, especially when focused solo listening to a part, so a lot of self taught people play around with compressors thinking they make a part sound nicer, when +2 dB was the thing the part actually needed. Beat Kitchen also has interesting posts about this, in case you want to learn more.
@@FlorisVanLent haha I appreciate the comments. Dan Worral is great. I studied compression in school. Generally when talking about bringing the vocal out in the mix, I was talking about the dynamics of a vocal. When you get rid of dynamics, and up the volume, it brings a track out in the mix. Having more drastic dynamics will bury a track in a mix because you won’t get an even signal. Loud parts will be too loud for the mix, quiet parts will be too quiet in the mix. Drastic dynamics can come in the form of the whole signal, or just transients, or both, which is why we use varying compression speeds. As for like the up front/far away notes, that also has to do with reverb and EQ as well, but generally bringing a vocal “up close” to me at least, has always been a compression thing Hope that makes sense, and yes! Gain matching is extremely important, all of this is stuff I cover in the course Also best kitchen is super dope too!
@@mtchlrtoo so interesting to hear your perspective, thanks for sharing! Some of the teachers at my university use compressors in such different ways and to solve different problems :P Most of my experience is in the indie/"kleinkunst" genres or choir music, there's so much attention for dynamics there that the mixing issues there are preferably solved in the arrangement, so I'm always more hesitant (maybe more than I should be!) to use compression than most people. I like the atmosphere you've curated here in the comments, so consider me subscribed :)
My favorite is when you go to college for this stuff (me) and they tell you to go watch RUclips tutorials or even just waste class time collectively as a class, watching RUclips tutorials (with ads) in class...
First and latest - trigger 2. I'm working with drums and 90% of the time it's sound like dogshit in amature productions. I can easely replace it with something that actually good deed, and i'm dont need to worry about it anymore. Also i wanna buy Vocaling because it can save you a whole fucking live editing vocals.
@@oyoyoyubilinegra vocalign is great! Pain in the butt if it’s not ARA though, I hate recording things into plugins just for them to work. Ableton is horrible for that
@@oyoyoyubilinegra also yes trigger 2 is awesome! One of the best tools and such a great price! I don’t use it often because I work with VST drums most of the time, but any time I’m using real drums, 90% of the time I’m using trigger.
@@mtchlrtoo simply saying the producers of internet that make videos that debunk producing. How would a producer get to become world famous if they were always giving away all their producing and mixing secrets?
@@claytonlevibrown hahah, same way they became world famous. Mentors, tutorials, education. Also there's a ton of world class professionals giving their mix advice and showing their setups. Chris Lord-Alge for example. This video isnt even about production secrets, it's more about how to learn more efficiently. I wouldn't say there's such thing as "debunking" producing, but you're right there's a ton of click baity education showcasing methods that aren't great. I try to offer as much value as possible, though I do unfortunately have to make these attention grabbing titles and thumbnails, which I don't really like doing lol
@@mtchlrtoo awe, CLA. I see you mentioned one of the most marketed producers. Yet it may be true that he now shares the spotlight with his techniques inline for the conversation pieces could it be also true that this is because he's on the back end of his career rather than the forging aspects of deep seeded ideas and concrete structures where the sound is made and meant to be kept private until release. You mentioned CLA but do you produce bands and songs similar to the bands he's known for producing?
@@claytonlevibrown I produce a lot of rock and pop, also indie and folk. Regardless of the genre, techniques aren't usually genre specific. For more examples of producers educating, check scheps, any producer on "mix with the masters", newer producers like Alexander 23, Mark Ronson, Dan Nigro. Sure, secrets are private until release, but those secrets come out in form of tutorials and second-hand witnesses (like with the producers above) or general digging (ie. the plugin used on "motion sickness" by phoebe bridgers, Tony Berg wanted to keep secret, but was discovered by RUclipsrs like AudioHaze) I don't think your takes make a lot of sense doubly so for a video about how to get better at learning music production, not "secrets from the pros that they've been keeping from you" also, producers definitely dont need to be world famous to be successful... I certainly dont want to be world famous lol
![Music Production for Beginners - FL Studio Course [2024]](http://i.ytimg.com/vi/UnjKWSlwZWM/mqdefault.jpg)
Love your channel man. Truly an undiscovered gem, your video on country music production was awesome! Keep it up brother 🫡
@@liamdubalmusic thanks a ton man!
GREAT video, i knew most of these things already, but i wish i knew them when i was getting started, so great job on this video!
Glad you enjoyed! Thanks for watching
Awesome video! I love the editing style 🔥
Also, find the very few plugins you like, and DECLUTTER! Ever since I found U78 Saturator, I never wanted another saturator. I know what it does, and it's EASY.
Determine what you want to do with your workflow. Do you want quick dial in and go, or do you want to finely tune every parameter. I like the former. Orient all your plugins around that.
For instance, I've used EZQ for years. It literally just creates bumps and cuts. It's really balanced, and the workflow is intuitive, drag the cursor until you hear what you want. Done.
I have a go-to vocoder, OVox, and a go-to re-pitcher, Melodyne (which came with my DAW)
I de-noise my recordings OUTSIDE THE DAW in RX10 because it just works.
I don't need de-essers and all these vocal cleaning plugins. I do it externally. Then and only then do I bring them into the DAW for colorization and processing.
Don't expect your plugins to be miracle workers. Feed them quality, and they will thank you.
@@ItsJustAdrean hell yeah! Appreciate the comment!
@@mtchlrtoo I appreciate the video! It was an extra kick in the ass to get producing!
Fire video! 🔥
@@bigandchunky7733 appreciated!
Need to see a hozier type vocal mix, the warm vintage saturation the whole shebang, ty goat
@@skubr9050 good idea! Would need to find someone to sing hozier-style first… I should ask around
Buying plugins is the best way to understand them. After I bought trigger 2 I squeezed the crap out of it and used every feature down to the sidechain trigger.
@@oyoyoyubilinegra for sure! Gotta get your moneys worth
Nice video! I noticed you keep mentioning compression when talking about how deep or far away a sound source is buried in the mix. I think just gain alone will bring something more forward/backward, and of course compression can have an effect on perceived volume. I think compression is the most incorrectly taught piece of music production, especially on RUclips. I'm by no means the god of understanding, but check out a few vids by Dan Worrall; I think compression shapes a sound by lowering volume which changes the perception of the transients.
The most helpful thing for me to understand this, was to compare the exact same sound with a compressor and without, but making sure the overall volume is the same (so also set a gain plugin after your compressor to lower the volume to the original). We have a tendency to prefer louder sounds, especially when focused solo listening to a part, so a lot of self taught people play around with compressors thinking they make a part sound nicer, when +2 dB was the thing the part actually needed. Beat Kitchen also has interesting posts about this, in case you want to learn more.
@@FlorisVanLent haha I appreciate the comments. Dan Worral is great. I studied compression in school.
Generally when talking about bringing the vocal out in the mix, I was talking about the dynamics of a vocal. When you get rid of dynamics, and up the volume, it brings a track out in the mix. Having more drastic dynamics will bury a track in a mix because you won’t get an even signal. Loud parts will be too loud for the mix, quiet parts will be too quiet in the mix.
Drastic dynamics can come in the form of the whole signal, or just transients, or both, which is why we use varying compression speeds.
As for like the up front/far away notes, that also has to do with reverb and EQ as well, but generally bringing a vocal “up close” to me at least, has always been a compression thing
Hope that makes sense, and yes! Gain matching is extremely important, all of this is stuff I cover in the course
Also best kitchen is super dope too!
@@mtchlrtoo so interesting to hear your perspective, thanks for sharing! Some of the teachers at my university use compressors in such different ways and to solve different problems :P
Most of my experience is in the indie/"kleinkunst" genres or choir music, there's so much attention for dynamics there that the mixing issues there are preferably solved in the arrangement, so I'm always more hesitant (maybe more than I should be!) to use compression than most people.
I like the atmosphere you've curated here in the comments, so consider me subscribed :)
Pirated plugins is crazy 😂😂 I'm just getting into daws again and have no idea whats going on but enjoying myself. Nice video!
@@artessxoxo haha that’s all that matters!
@@mtchlrtoo yessss !!
tank youuuuu
That Biden 😂😂👍🏼
Keep watching tutorials and keep doing the work rest everything will come to you no need to buy course or expensive gear
@@dhruba8446 agreed, though some tutorials on here are pretty useless, you’ve just gotta watch a ton and decide for yourself
My favorite is when you go to college for this stuff (me) and they tell you to go watch RUclips tutorials or even just waste class time collectively as a class, watching RUclips tutorials (with ads) in class...
@@SunAndMirror what kinda wack college you goin to hahaha
First and latest - trigger 2. I'm working with drums and 90% of the time it's sound like dogshit in amature productions. I can easely replace it with something that actually good deed, and i'm dont need to worry about it anymore. Also i wanna buy Vocaling because it can save you a whole fucking live editing vocals.
@@oyoyoyubilinegra vocalign is great! Pain in the butt if it’s not ARA though, I hate recording things into plugins just for them to work. Ableton is horrible for that
@@oyoyoyubilinegra also yes trigger 2 is awesome! One of the best tools and such a great price! I don’t use it often because I work with VST drums most of the time, but any time I’m using real drums, 90% of the time I’m using trigger.
there sure are a lot of guys like you on the internet, girls too; how long you produced for now?
@@claytonlevibrown idk how I’m supposed to take this comment, but going on 8 years
@@mtchlrtoo simply saying the producers of internet that make videos that debunk producing. How would a producer get to become world famous if they were always giving away all their producing and mixing secrets?
@@claytonlevibrown hahah, same way they became world famous. Mentors, tutorials, education.
Also there's a ton of world class professionals giving their mix advice and showing their setups. Chris Lord-Alge for example.
This video isnt even about production secrets, it's more about how to learn more efficiently.
I wouldn't say there's such thing as "debunking" producing, but you're right there's a ton of click baity education showcasing methods that aren't great. I try to offer as much value as possible, though I do unfortunately have to make these attention grabbing titles and thumbnails, which I don't really like doing lol
@@mtchlrtoo awe, CLA. I see you mentioned one of the most marketed producers. Yet it may be true that he now shares the spotlight with his techniques inline for the conversation pieces could it be also true that this is because he's on the back end of his career rather than the forging aspects of deep seeded ideas and concrete structures where the sound is made and meant to be kept private until release. You mentioned CLA but do you produce bands and songs similar to the bands he's known for producing?
@@claytonlevibrown I produce a lot of rock and pop, also indie and folk. Regardless of the genre, techniques aren't usually genre specific.
For more examples of producers educating, check scheps, any producer on "mix with the masters", newer producers like Alexander 23, Mark Ronson, Dan Nigro. Sure, secrets are private until release, but those secrets come out in form of tutorials and second-hand witnesses (like with the producers above) or general digging (ie. the plugin used on "motion sickness" by phoebe bridgers, Tony Berg wanted to keep secret, but was discovered by RUclipsrs like AudioHaze)
I don't think your takes make a lot of sense doubly so for a video about how to get better at learning music production, not "secrets from the pros that they've been keeping from you"
also, producers definitely dont need to be world famous to be successful... I certainly dont want to be world famous lol