- [Jay] So, now, we take this high one, we take all this clip gain off
because we don't need it for the high.
We high pass filter, bass growl 1, bass growl 2,
which you'll have in your presets.
And then now we don't have to spatialize it to get out of the way
of the lead vocal because it's already spatialized.
We only centered the bottom part.
All right, so now we're on the top one.
Let's listen to it.
So, there's the growl.
So, now we can control that. And think about it.
You have your 808 now staying, like...
I mean not your 808, your bassline staying right there
because the mastering compression on it, it's not letting it move.
You see it?
Put them together.
But you hear dipping out when the kick comes in?
Now here we go.
Woo. Come on now.
Complete control.
So, now, that's done.
I lock them in, so I know it's done.
- [Woman] The low bass, would you ever leave it in stereo instead of mono?
- Absolutely.
Sometimes, when I bring it into to mono it's like,
"Nah, it doesn't make any sense."
But I always try to see it because mono bass just makes your records hit
a little bit different than it does in stereo.
Stereo kind of washes it out, but sometimes that's needed.
All right, so...
- [Man] What do you do with different 808 notes
hitting on different volumes?
Sometimes, they seems like 100 Hertz hits harder.
Louder, I mean.
- Bro, Soothe2 will change your life because it does it by frequency.
So, it's like 80 then all of a sudden a 150 shoots up,
Soothe will knock it down.
- In your opinion, everything should be evenly loud?
- No, no.
My opinion, you know, you could have some ratchet bass
that just really rumbles the stomach.
My opinion on this record and on most record is yes, I want my low end
to be controlled because we're already so loud.
If you have...
It's like, you got to train your ear to know when the speakers
are going to start farting.
So, when you start hearing the speakers fart, you know you're going to
have to control it.
So, I just control it from the beginning.
And as you can see, if you come up here...
...we're at minus 4.6, you're not even touching the limiter yet.
You're doing all the EQ-ing and mastering at minus 5
before you're even hitting your limiter.
So, at minus 5 you can add your music, which will probably
take you to minus 3, add your vocals, which will take you to probably
minus 1, and you'll have a couple jump ups.
So your gain structure is locked.
So we're going to look.
Once again, I'm just going to beat it in your head.
Minus 1...
...to minus 4.
So, now I'll lock in my side chain.
I know I did a good job with that.
All right, so let's listen to this second bass.
Oh, shit, son.
Well, you hear something like that, it's usually not playing
when drums are playing, but yes it is.
So, let's see what it sounds like just at first...
how it's hitting this.
It's hitting pretty good.
So, the drawn-out helped it out a lot, but it still needs Soothe,
so we'll bring Soothe down because we know we already have
our triggers here, and we look at it.
Perfect.
It's a little flobbly at the end, so what do we do?
Control, raise the release.
Actually, it is giving me a little resistance on the control
because certain things are popping out.
So, here comes the Bass Chill preset.
We'll take the depth all the way down to 0.
And then we'll just do a little bit.
So it's a little bit more on the low.
So, I can just bring this up so I can concentrate on the low
and actually put it as a shelf.
You see that?
Woo. This motherfucker's a beat.
So, now, we got that 808 going, we'll just double-check on over here.
Perfect.
So, now, we got our hi-hats, our drill hi-hats.
There's no scope on this board, so we'll double-check
to see what these hi-hats are doing with Insight.
I want to make these stereo, but I just want to double-check this out.
They're already stereo. I knew it.
Usually, all drill hi-hats are stereo.
So, that's perfect.
But what I would rather do is actually take the same...
Even though it's already stereo, it's basically the same thing.
And I'll take this and then turn it into a panner.
So, this is the PS22-XSplit.
I come over here, I automate the left/right...
Flink, take this to 33.
So, 33 to 33.
There we go.
Oops, that's not the right one.
All right, so as you can see...
- How do you do the duplicate command?
- Option + R.
So, now, you can see panning left/right.
So, if I put the scope on the Insight on...
Well, you can't really see it on this,
but now it's panning left and right in the open...
So, I'll take it off.
Less movement.
All right, so now we got the hi-hats going with a little movement.
Once again, they're a little bit ahead of the mix.
So, instead of turning them down, which doesn't do anything,
but turn them down, I bring the TrueVerb in.
And what do we do?
We put it a little bit, not super behind, but behind.
So, before, in your face.
After, behind the mix.
And you can automate that if you want, which sounds lovely.