Waves Vocal Plugin Chain That Always Works...

Summary

Dans ce script, l'ingénieur du son Bobby Bailo partage une stratégie de mixage de voix qu'il a développée au cours des 15 dernières années. Il explique comment utiliser un chaîne de plugins Waves pour obtenir un son de voix moderne et brillant, indépendamment du genre musical. Il détaille l'utilisation de compresseurs multi-bandeaux, d'EQ, de compresseurs optiques et de limites pour un résultat cohérent et poli. Il recommande également des plugins gratuits pour ceux qui ne peuvent pas se les permettre.

Takeaways

• 🎤 L'auteur partage une stratégie de mixage de voix qu'il a développée au fil des 15 dernières années, qui fonctionne pour n'importe quelle voix, quelle que soit la gamme musicale.
• 🔧 Il est important d'adapter le mixage en fonction du microphone utilisé pour enregistrer la voix, que ce soit un microphone condensateur ou dynamique.
• 💡 Une chaîne de plugins Waves est recommandée pour un son de voix moderne, mais des plugins gratuits peuvent également être utilisés en ajustant plus finement le son.
• 📌 Bobby Bailo, de Raytown Productions, propose une aide pour améliorer la qualité musicale sans devoir acheter de matériel onéreux.
• 🎶 L'exemple de mixage utilisé est une chanson des Street Urchins, un groupe de Californie, et l'auteur encourage le soutien à ces artistes.
• 🔄 Un compresseur multi-bandeaux est utilisé pour remodeler la tonalité et l'équilibre de la voix, peu importe le type de microphone utilisé.
• 🎚️ L'outil Wave C6 est utilisé pour ajuster les plosives et les basses fréquences, et pour créer un son de voix puissant et cohérent dans la plage de fréquences moyennes.
• ⚙️ Un compresseur régulier, comme le CLA-76 de Waves, est utilisé pour rendre la performance vocale plus consistante et pour éviter le besoin de volume automation.
• 🚫 Un dé-esser est ajouté pour éviter les fréquences sifflantes qui peuvent être désagréables à l'oreille.
• 🚧 Un limiteur est placé à la fin de la chaîne de plugins pour assurer un contrôle total de la performance vocale et éviter les pics de volume inattendus.
• 🌐 L'auteur mentionne qu'il couvrira les effets comme les reverbs et les delays dans une prochaine vidéo.

Q & A

Quels sont les défis courants lors du mixage de voix?

Les défis incluent la variété de sons en fonction du chanteur et de l'enregistrement, comme le type de microphone utilisé, que ce soit un microphone condensateur ou dynamique.

Quelle stratégie Bobby Bailo recommande-t-il pour le mixage des voix?

Il recommande une chaîne de plugins Waves qui fonctionne pour n'importe quel genre de voix, tant que l'objectif est un son de voix moderne.

Quels sont les plugins Waves mentionnés dans le script?

Les plugins Waves mentionnés sont le C6, l'CLA 76, l'CLA-2A, le L1 et le De-esser.

Pourquoi utilise-t-il un multibande compresseur en premier?

Il est utilisé pour redéfinir la tonalité et l'équilibre de la voix, peu importe si elle est enregistrée avec un microphone condensateur ou dynamique.

Quel est le rôle du plugin C6 dans le mixage des voix?

Le plugin C6 est utilisé pour façonner la voix en ajustant les bandes de fréquences et en utilisant la compression multibande pour obtenir un son de voix puissant et cohérent.

Quels sont les réglages de compression Bobby Bailo utilise-t-il sur le plugin C6?

Il utilise des réglages de compression multibande avec une plage allant de -6 dB et des bandes de fréquences ajustées pour couper les plosives et éviter un son trop grave ou aigu.

Quelle est la différence entre l'utilisation du CLA 76 et l'CLA-2A dans la chaîne de mixage?

Le CLA 76 est un compresseur à lampe qui réagit rapidement et apporte de la présence, tandis que l'CLA-2A est un compresseur optique plus lent qui aide à créer une performance dynamique et à coller la voix ensemble.

Pourquoi est-il important d'utiliser un limiteur à la fin de la chaîne de mixage des voix?

Un limiteur est utilisé pour s'assurer qu'aucun moment ne soit trop fort et pour contrôler la performance de la voix, évitant ainsi la nécessité de faire de l'automation excessive.

Quels sont les effets que Bobby Bailo mentionne qu'il ajoute après le mixage des voix?

Il mentionne l'ajout d'effets tels que les reverbs et les delays, mais il dit qu'il en parlera dans une autre vidéo.

Quels sont les conseils donnés pour éviter un son de voix qui semble avoir un lisp?

Il faut être prudent avec le réglage des seuils et la réduction de gain dans le plugin de compression, pour ne pas que le chanteur semble avoir un lisp.

Outlines

00:00

🎤 Mixage des Voix : Stratégie et Plugins

Le paragraphe 1 aborde la complexité du mixage des voix en fonction du chanteur et de l'équipement d'enregistrement. L'auteur partage une stratégie qu'il a développée au fil des 15 dernières années pour un mixage de voix moderne, indépendamment du genre musical. Il mentionne l'utilisation de plugins Waves, tout en reconnaissant que des plugins gratuits peuvent également être utilisés en ajustant plus précisément les paramètres. Il propose également un guide de plugins gratuits pour le mixage et la maîtrise. L'auteur, Bobby Bailo, se présente comme un ingénieur du son à Raytown Productions, qui aide à améliorer la qualité musicale sans devoir acheter de l'équipement coûteux.

05:00

🔊 Équilibrage des Tonalités Vocales

Le paragraphe 2 explique comment équilibrer les voix en utilisant un compresseur multi-bande pour s'adapter aux enregistrements avec micros condensateurs ou dynamiques. L'auteur détaille l'utilisation du plugin Wave C6 pour ajuster les basses et les hautes fréquences, et pour gérer les plosives. Il illustre les réglages de compression et d'amplification pour obtenir un son vocal plein et clair, tout en évitant les sons trop aigus ou trop lourds.

10:01

🎚️ Compression pour un Performance Vocale Cohérente

Dans le paragraphe 3, l'auteur explique comment utiliser un compresseur pour unifier la performance vocale et assurer un niveau sonore cohérent. Il utilise le plugin CLA-76 de Waves pour ajuster l'attaque et la libération des sons, et pour ajouter de la 'vitalité' à la voix. Il mentionne également l'utilisation d'un deuxième compresseur, le CLA-2A, pour créer une performance plus dynamique et pour 'coller' ensemble les différentes parties de la chanson.

15:01

🚫 Contrôle des Sons Dur et Brillants avec un De-esser

Le paragraphe 4 traite de l'utilisation d'un de-esser pour atténuer les sons aigus et les fréquences qui peuvent être pénibles à l'oreille, comme les sons sibilants. L'auteur montre comment régler le de-esser pour s'assurer qu'il ne réagit que lorsque les voix deviennent trop brillantes. Il insiste sur l'importance de l'oreille pour juger du bon fonctionnement du de-esser plutôt que de se fier uniquement aux jauges.

20:04

🔝 Utilisation d'un Limiteur pour Contrôler la Dynamique Vocale

Le paragraphe 5 met l'accent sur l'ajout d'un limiteur à la chaîne de mixage des voix pour s'assurer que rien ne devienne trop fort dans la chanson. Malgré l'utilisation de plusieurs compresseurs, l'auteur considère que le limiteur est essentiel pour le contrôle global de la performance vocale et pour éviter la nécessité de faire de l'automatisation excessive. Il utilise le plugin L1 de Waves pour 'muretiser' légèrement la voix.

Keywords

💡Vocals

Les 'Vocals' font référence aux parties chantées dans une chanson ou une pièce musicale. Dans le script, l'auteur discute de la difficulté de mixer les voix et des différentes techniques pour obtenir un son moderne et brillant. Par exemple, il mentionne que le choix du microphone (condensateur ou dynamique) affecte le son des enregistrements vocaux.

💡Condenser mic

Un 'Condenser mic' est un type de microphone à condensateur qui est souvent utilisé pour enregistrer des voix car il offre un large registre fréquentiel et un son clair et détaillé. Dans le script, il est mentionné comme l'un des microphones qui peuvent être utilisés pour obtenir un son vocal très brillant et aérien.

💡Dynamic microphone

Un 'Dynamic microphone' est un autre type de microphone qui est connu pour sa résistance et son utilisation dans les environnements bruyants. Il est mentionné dans le script comme étant celui utilisé par l'auteur, offrant un son plus chaud et moins aérien.

💡Plug-in chain

La 'Plug-in chain' est une série d'effets ou de traitements audio qui sont appliqués à un轨 ou un son en particulier. Dans le script, l'auteur partage sa stratégie de chaîne de plug-in pour mixer les voix qui fonctionne pour n'importe quel genre de musique moderne.

💡Waves

Waves est un fabricant de plug-ins audio professionnels. Dans le script, l'auteur mentionne l'utilisation de plug-ins Waves pour mixer les voix, indiquant qu'ils sont efficaces pour obtenir un son vocal moderne.

💡Multi-band compressor

Un 'Multi-band compressor' est un type de compresseur qui fonctionne sur plusieurs bandes de fréquences à la fois, permettant de contrôler le son de manière plus précise. Dans le script, l'auteur utilise un compresseur multi-bande pour ajuster la balance tonale des voix.

💡EQ (Equalization)

Le terme 'EQ' fait référence à l'égalisation, un processus qui ajuste les niveaux de fréquence dans un mix audio. Dans le script, l'auteur mentionne l'utilisation d'un EQ pour ajuster les plosives et les basses fréquences des enregistrements vocaux.

💡CLA 76

Le 'CLA 76' est un plug-in de compresseur模拟了经典的11 76压缩器，apprécié pour son son vintage. Dans le script, l'auteur l'utilise pour donner plus de 'vibe' et de 'punch' au son des voix.

💡De-esser

Un 'De-esser' est un outil de mixage qui est utilisé pour atténuer les fréquences sibilantes dans les voix. Dans le script, l'auteur mentionne l'ajout d'un de-esser pour éviter les sons sibilants qui pourraient être irritants.

💡Limiter

Un 'Limiter' est un type de compresseur qui limite le volume d'un signal à un niveau maximal défini pour éviter les distortions. Dans le script, l'auteur place un limiter à la fin de la chaîne pour s'assurer que les voix ne deviennent pas trop fortes dans certaines parties.

💡Sibilance

La 'sibilance' fait référence aux sons produits par les consonnes s, z, sh, ch, j, etc., qui peuvent être excessifs et irritants dans les enregistrements vocaux. Dans le script, l'auteur parle de la nécessité de traiter la sibilance pour obtenir un son vocal plus agréable.

Highlights

Vocal mixing can be challenging due to the variety of recording techniques and microphones used.

A single plugin chain may not work for all vocals, necessitating a versatile mixing strategy.

The Waves vocal plugin chain is recommended for achieving a modern vocal sound.

Free plugins can be used effectively if Waves plugins are unaffordable.

A comprehensive guide to free mixing and mastering plugins is available.

The guide includes plugins for compression, limiting, clipping, distortion, and reverb.

Bobby Bailo introduces himself as a mixing and mastering engineer at Raytown Productions.

The session example is from a band called Street Urchins from California.

Vocals typically have two tones: bright and airy or warmer and less airy.

A multi-band compressor is used to reshape the tonality and balance of vocals.

The Waves C6 plugin is a go-to for initial vocal shaping.

Parametric bands are used to handle plosives and reduce boominess or harshness.

A specific band is used to create a powerful, full mid-range vocal sound.

High-frequency bands are boosted to achieve a bright and airy vocal sound.

Compression is used to control the level and prevent overly bright moments.

The Waves CLA-76 compressor is used for performance squeezing and level consistency.

Attack and release parameters are critical for achieving the desired vocal sound.

A de-esser is used to control sibilance and prevent harsh frequencies.

A limiter is placed at the end of the chain to ensure no loud peaks escape.

The final step is to add effects such as reverb and delay.

The Waves plugin chain is claimed to work every time for any vocal.

Engagement is encouraged through comments and sharing of the video.

Transcripts

vocals can be so hard to mix sometimes

and depending on the singer

and how the vocals are recorded what

they use for microphones whether it's a

condenser mic or a dynamic microphone

like i'm using

you get so many different palettes of

sound so just having a single plug-in

chain doesn't ever seem to work

until now

i want to share with you a strategy that

i've developed over the last 15 years or

so for mixing vocals that seems to work

for whatever vocal i throw at it doesn't

matter what genre it is as long as

you're going for a modern sounding vocal

now don't get me wrong you're gonna have

to tweak it a little bit depending on

the song or the project you're working

on but for 99 of the time this waves

vocal plug-in chain just does the trick

now if you don't have any of these

plug-ins or you just can't afford them

right now that's totally fine you can

definitely use any stock plug-in that

does the same thing it might just take a

little bit more work and if you're

looking for some really good free mixi

mastering plugins i've put together a

comprehensive guide for you already

there's a link to that in the

description this guide has everything

from compressors limiters clippers

distortion

special effects there's reverbs these

are plugins that i literally use for

mixing mastering music every single day

and some of them even sound better in my

opinion than some of my paid plugins so

if that sounds interesting to you go and

check out that guide again there's a

free download in the description if you

don't know me yet my name is bobby bailo

i'm the mixing and mastering engineer at

raytown productions and i help you make

better sounding music without needing to

buy expensive gear or equipment if

you're new here thank you so much for

joining me today be sure to hit that

subscribe button because i drop new

videos every single week and you do not

want to miss a single one because

they're going to help you level up the

quality of your music so the session

today is by a band called street urchins

and they're out of california so if you

like what you hear definitely go in

support them they are an awesome bunch

of dudes i have links to their social

media accounts and all that stuff in the

description as well so when you're

dealing with vocals in most

sessions you're going to basically have

two different tones you're going to have

a very bright airy modern sounding vocal

which is usually recorded with a large

diaphragm condenser microphone or you're

going to have something that's a little

bit warmer and not so airy just like

this uh dynamic mic that i'm using okay

so

in order for us to have a plug-in chain

that works for

any of these things we need to find a

way to sculpt

the overall balance in a way that

adjusts to both a condenser style mic

and the dynamic mic

so the first thing we're going to do is

put on a multi-band compressor just to

reshape these the tonality and the

balance of the vocal regardless if it's

recorded with a condenser or a dynamic

mic so let's just hear what the vocals

sound like

[Music]

[Music]

so you can hear the vocal isn't super

bright right it sounds kind of warm so

this is probably actually recorded with

a dynamic microphone

now the way i like to reshape vocals is

by using wave c6 and i absolutely love

this plugin this is my default load

state of this plug-in okay so anytime i

load up a track to work on this is what

comes up first

and you probably noticed i didn't use an

eq before that's because we can handle

all the plosives by uh adjusting to gain

this low band let me just give you a

quick

run through of what i have set up here

so two of these bands are

basically parametric bands okay you move

this anywhere you want so those i have

set at 150 hertz and 2

and 2 500 hertz and the reason is is 150

is where vocals will sometimes get kind

of boomy sounding or muddy

and

two and a half k is where they can get

really annoying and kind of cut through

and be harsh and honky sounding

so i typically just set it up this way

and then i'll fine-tune it

depending on the vocalist style

everything under about 105 hertz i'm

basically cutting completely away i'm

pulling this down 18 db

and then we're also gonna do some

multi-band compression uh with a range

of minus six db so it'll pull off

another 6 db if the vocals get too bassy

for some reason so then i have a band

from 105 hertz to 3.5 k

this basically is going to be

the vocal that is reproduced on most

low-fi speaker systems like let's say

your car or a cell phone or something so

this band is going to do a lot of the

heavy lifting for us

what i like to do here is

lock in a very powerful full

mid-range vocal sound by boosting

3 db of the vocal tone and at the same

time we're going to compress it back

down

actually and we're going to compress it

even lower than its normal level okay so

what this is doing is we're raising

those frequencies into the compressor

and the compressor is actively always

pushing that down so we have a very flat

consistent mid-range of our vocal the

entire performance okay so this is

helping to reshape the vocal tone

regardless of its condenser or

dynamic mic okay and we're going to

follow that same strategy in the higher

frequencies too

most modern vocal sounds

are very bright and airy okay

so what i like to do is we'll boost this

high band from 3.5 k to 9 and a half k

pretty aggressively like

maybe 8 db

um so it's

noticeably bright okay and we're going

to do the same strategy where we have

up to maybe 12 or sometimes i'll even

pull us down to minus 16 db of potential

gain reduction okay so again we're

boosting those high frequencies to make

on average the tone to be on the bright

side and then any time things get too

bright the compressor's going to grab

all those frequencies out

exactly the same strategy for the

highest airy band okay so everything

above 9.5 k i'm gonna boost probably at

least 8 db if not more sometimes i've

gone up to 12 or 16 db if i if i'm

missing that air off the vocal again

hold this range knob down so we're also

attenuating it so it doesn't run away on

us okay so let me show you how i dial

this in when we're playing the vocal

like i've been stuck in this rut for so

long

i mean if i pass all the bands i'll put

them in one at a time

and i'm afraid to make a change from

this laptop so this one again that

cleans up the plosives and any of the

really rumbly base that we don't really

want in our vocal

i feel alone

this band is there just to thicken it

and keep it consistent i've been stuck

in this rod for so long

and i'm afraid to make a change perfect

from this

this is gonna be our presence or like

the articulation of the vocal

and i'm afraid to make a change from

this life that i'm used to

but i know

without a goal so you can see it's

it's really

bright but it never gets too bright

right

let's add this air band i'm just wasting

time

wasting away

another day

like i've been stuck in this rut for so

long

and i'm afraid to make a change from

this life that i'm used to now if you're

too aggressive with this you can

actually

cause the vocalist to sound like they

have a lisp so be very careful with how

much you're actually attenuating your

thresholds biting into the track too

much or you have too much gain reduction

so just lower your range

another thing you can do is change the

attack and release parameters

i have very very fast releases on all my

high bands because i want the airiness

to stay there

if you have a really long release you're

going to get this weird like pumping

motion in the high frequencies and it's

gonna be really noticeable and it's

gonna be distracting if you wanna add a

little bit more aggression or presence

to the vocal you can just have a slower

attack as well that'll let any of the

little sharp transients jump through

before it attenuates uh the really high

frequencies so let me dial that in

like i've been stuck in this rod for so

too short let's open it up and i'm

afraid to make a change from this life

that i'm used to but i know

without a goal

i'm jo

i feel so alone like i've been stuck in

this rut for so long

and i'm afraid to make a change

all right so i think i think we're

getting a good spot here

from this life that i'm used to

well let's activate this 2.5 k band just

to help with a little bit of the

honkiness of that

feel so alone

and i'm afraid to make a change so i'm

just you can use the solo band to find

the specific frequency from this life

that i'm used to

but i know

without a goal ah there it is it's so

much smoother now let me show you

without it

stuck in this rod for so long

and i'm afraid to make a change from

this life that i'm used to

cool perfect

um and at this point i think we're

pretty good in terms of using

the wave c6 to shape the vocal let's now

go to the next step so now we want to do

is we want to squeeze the performance

together so we have a consistent level

and typically that's done using just a

regular compressor in

this case

i tend to use waves cla 76 so this is

just a 1176 compressor i think the bluey

mode sounds a little bit cooler it just

has a little bit more vibe to it than

the black i always go with this one

now there's basically two main

parameters you want to worry about the

attack and release i find that for

vocals you usually want them very close

to the front

of the mix so

have a really fast release okay and on

this type of compressor a fast release

is a high number it's kind of backwards

from how most compressors are designed

but just crank it up here if the

vocalist feels like they're too far in

front you can just

slow the release down and that'll give

this sense that the vocalist is going

farther back in the mix

and then you can think of this attack

knob as like an aggression knob okay if

you have it really fast it's just going

to be flat across it's really not going

to have a lot of movement it's going to

just kind of be the same whole way which

is kind of boring in my opinion

so i like to have the attack between

like five and maybe two somewhere in

here that lets a little bit of the

performance go through so it feels a

little bit more lively let's dial in

some compression here and just get a

nice solid consistent performance just

alone i like i've been stuck in this rod

for so long

and i'm afraid to make a change from

this life that i'm used to

but i know

without a goal

i'm just wasting time

and i would say be careful looking at

the meter trust your ears you'll know if

you're compressing it too much i know i

know a lot of times people see and

they're like wow it goes up to minus 10

db

don't let that fool you right that might

just be a loud moment in the song so

if as long as it sounds okay just go

with it you're so alone i like i've been

stuck in this rod for so long

cool this is a good starting point i'm

liking that i will say after compressing

the vocal i think it is a little on the

bright side so let's come back here

let's bring these these down a little

bit and let's boost up that

that low mid band that helps to thicken

the vocal right here this one

and i'm afraid to make a change from

this life that i'm used to

well there we go

all right i think we're good to go now

the next thing i do is i actually put

another compressor after this but this

is a different style so we used the 76

compressor now i'm going to use cla2a so

this is an optical style compressor

basically it just is a lot slower

when it reacts to a signal so

this is going to help create a more

dynamic performance that just makes the

vocal more interesting it also helps to

kind of glue it together in my opinion

so let's let's dial this one in

a lock i've been stuck in this rod for

so long

and i'm afraid to make a change

from this life that i'm used to

but i know so it's getting a little bit

too compressed so let me uh back this

off a little bit alone like i've been

stuck in this rod for so long

and i'm afraid to make a change from

this life that i'm used to

but i know

without a goal

that feels right to me i usually don't

do too much compression with with this

one this one's just there like i said

it's like an insurance policy okay

um at this point

now i have an eq here just in case

there's anything

that might be harsh that's making its

way through so we can do a little bit of

cutting but for right now i think we're

okay i don't think we really need to use

this at all

now at this point i always like to put a

de-esser here just in case

something

sneaks through one of the things that

drives me crazy listening to music is if

you have a really sibilant vocal

and all you need to fix that is a

de-esser and waves makes a great one and

it's just called de-esser it's

you can't get more simple than that

right all right so let's just uh dial

this in and make sure that it's catching

any of the annoying frequencies

like i've been stuck in this rod for so

long

and if you really want to dial in

uh the right frequency for this plug-in

you can go to the side chain monitor

button here

and now you're only going to hear the

frequencies that it's listening to to

attenuate

right so actually

down here is kind of where those

frequencies sound the most harsh

cool so let's let's go back to this

audio monitor button and now we'll just

pull this fader down so it makes the

vocal a little bit easier to

this rod for hear long

and i'm afraid to make a change from

this life that i'm used to

but i know if this attenuate

light is flashing all the time you

probably have your threshold set too low

okay this should only be jumping in when

the vocals get too bright but i know

without a goal

i'm just wasting time

wasting away

another day

i feel so alone like i've been stuck in

this rod for so long i actually like it

better with this opened up this filter

open now we have one more thing and this

might be something you're like whoa whoa

what are you doing but hear me out okay

i always put a limiter at the very end

yeah i know people like why a limiter

you already put three compressors on the

vocals why do you need a limiter

aren't limiters for mastering well maybe

but they also sound good on vocals okay

in the big picture of mixing a song we

have to have control over each of the

different elements otherwise you can

spend all day volume writing everything

to make all the pieces fit together so

if you can really control the

performance of the vocal then you don't

have to do like any automation the song

basically just works okay

so i always tend to put a limiter

after at the end of my vocal chain

just to make sure make absolutely sure

that nothing is going to sneak by

and make a tiny moment way too loud in

the track i'm literally just using waze

l1 it's like the

oldest plug-in they've ever had probably

and

i'm just gonna bring it down and just

basically brick wall it at the point

where it just barely is touching it okay

so let's do that

and i'm afraid to make a change from

this life that i'm used to

but i know

without a goal so you can see the

breaths are actually super loud

and i'm afraid to make a change let's

see how this barely is blinking it's

only on very certain moments

from this life that i'm used to

but i know

without

so there you have it okay let's hear

what it sounds like before and then

after the vocal chain rod for so long

and i'm afraid to make a change

from this life that i'm used to

but i know

without a goal

i'm just wasting time

wasting away

another day

i feel so alone

like i've been stuck in this rut for so

long

and i'm afraid to make a change from

this life that i'm used to

but i know

without a goal i think you can hear it

instantly turned a

boring dull vocal that was recorded

probably with a dynamic mic into

something that sounds modern and bright

and airy that we're used to hearing so

the only thing left to do at this point

is basically just to add your effects

okay so your reverbs delays all that

stuff i've already taken up a ton of

your time so i'm gonna save that for

another video

but just to give you a little uh a taste

well i'll give you a little tiny taste

here

[Music]

there you have it that plug-in chain

works every single time i use it it's

amazing i can just literally load up

that and no matter what performer what

singer what microphone what preamp they

used this this chain always works so

which one of these vocal mixing tricks

are you going to use for your mixing

workflow let me know in the comments i

love seeing people leave comments about

their experiences with plugins or

different strategies for doing things

because anybody that comes across it is

going to learn from that i want to

remind you to go and grab your free

downloadable copy of my favorite free

mixing and mashing plugins and again

these are plugins that i use almost

every single day they sound amazing and

they're totally free what more could you

ask for if you feel like supporting me

or this channel all you have to do is

share my video with some of your friends

online or on facebook or reddit or some

other community where people are trying

to learn to mix music i'm sure this will

help somebody somewhere so i'd really

appreciate that and with that i want to

thank you so much for your time and

attention today and hope to see you in

another video

you