Everybody forced here rip in Sunday MLB a world series warm-up 20 box baseball mixer random teams. I Will show you the results right here. You can always find the random results at late in sports cards comm Thanks for joining everybody. Best of luck. Here we go 20 boxes world series warm-up Both series could be closed out today. Well the championship series Let's start with prism prism baseball hobby from 2022 again 20 boxes here guys We'll do all the high end at the end Great lineup here And if we have time, we'll do a recap here. If not, we'll have a separate recording. It'll be uploaded later tonight Hopefully we just get it done here I don't want to do it tonight All right, we've got shohio tani stink glass insert blue rookie padres mckinsey gore Blue none numbered. Yeah, harper does want that championship Fearless judge. We've got first auto the break braves. Kyle muller rookie sneak skin auto 535 silver rookie jaren duran illumination burns illumination wave Salvador pares 28 of 99 for the royals and blue josh hater brewers Man, they were hype. Dude, they were so hype. Gary carter rookie red jack Lopez not numbered Boston All right, jason, who is he? I don't know. Yeah, that camera shots pretty wild dude. That's an awesome one silver ozzie albie's braves They were going they were they were super hype right there That was like the biggest hit i've ever seen a filly's player have Juan yep has rookie auto cardinals none numbered Shedrick mullins orials red gold tigers kasey myse Sweet prism gold eight out of ten Braves blue awson riley Pirates rookie auto rwanzi contrair us not numbered Red rookie toronto kevin smith three cab just do this Unless you mag it of course a ronnie dawson rookie snakeskin auto astros 33 of 35 blue prism Marichael for the giants Got a colton welker red prism rookie for the rock. He's not numbered stained glass harper. There he is Got a vado mojo fearless reds 50 of 149 silver packy knot and rookie for the angels packy knot Mixer tweeted fireworks silver louise robert red rookie marlins bryantela cruz. What's up kj? Again, everybody one more break with spots left tonight It is the Let's do pristine next it is the week seven 20 box eminence football mixer Two pristine boxes now. Let's get these done. Let's get that football mixture filled up everybody.  I'm at collegiate hobby and first off the line It's got brand new certified Elements we got gold standard first off the line in there as well 2021 select It's a good picture. Everybody got authentic helmets too. Let me just Yeah, just 23 to go now Get 30 spots of that break two combo spots the basketball and baseball are all sold out tonight So it is just that football mixture left And personals will resume tomorrow for the zappy shield Robertson Is that what I think it is? David Robertson. That's what I was going to say. Oh man The lower down they got traded He's with them in like 18 19 They signed over that big contract and he got hurt and didn't perform Let them go sign with us Cub sign them and then trade them back It's been a little bit around the around the bend really All right, base pack first you Darvish pristine boarders judge base Pure power Raphael Devers red sox The mzappe is that what we're calling him? Bailey mzappe Abray you Pure power mookie bets Dodgers Wrung up pure power. Vladdie jr. Blue jays each row pristine boarders mariners fractures now orange Kike Hernandez red sox 24 of 25 rookie for the pirates sonial Cruz purple mariners Ken Griffey jr. Number 11 of 99 Jersey auto Dodgers max muncie non numbered slice of a star jersey auto fredel vado a rod as a ranger purple cubs kyle hendrix numbered 40 of 99 in case now White sox pure power auto louise robert non numbered Go white sox got non numbered nelson cruiser fracter for the twins blue sami sosa cubbies 70 of 75 white sox again rookie base auto this time gavin sheets Xander blue refractor red sox four of 75 And a non-numbered edgar martinez mirrors And paypal, but paypal Feels tough. Thank you. You're gonna survive jake. They look pretty defeated. Yeah I didn't expect it to all turn out that way. I was gonna be competitive. The ashras are just Yeah He's not pitching super well right now Hey, but you'd round ball here. All right. Here we go at the second pristine box pure power reggie jackson a's Got pristine borders. Jose. I bring you white sox God, I was a random pristine borders rays Yeah, I saw that dog pretty wild That's what I'm saying. I hope they do dog cabrion haze I hope they do and beltray All right refractors cow rally there you go mariners Where's uh poo holes orange rookie redet mers angels Two of 25 Sheets gold refractor julio orias dodgers number 18 out of 50 And gold jersey auto frity freeman atlanta nice hit atlanta number 28 of 50 MV free jersey auto Think you win it wins MVP got twins gold byron buxton 30 of 50 Gwyn base auto dieters walker beuler blue six though sanchez marlins 14 of 75 non-numbered poppy and a null and urinado auto 40 of 99 cardinals nice box there You go cardinals let's do 2021 top scrum jumbo Then mr.  Yeah, I'm pretty good taking out early. All right 2021 here Baseball won gonzalez prism yeti malina cardinals refractor shinsu chiu rangers Prism power illa hymen as christian yellowidge base rookie yada rangers leody taveras refractor yama gucci Mount castle rookie base Tristan mckenzie future stars buchette prism refractor adalberta mondacy royals and refractor david doll rockies kebrian haze base alec bomb 87 or 86 design there green refractor giants brandon crawford numbered 80 of 99 base rookie auto cubs tyson miller refractor brewers christian yellowidge tatsis Baseball akunya prism motani angels refractor blackman rockies Future stars castro padres chrono worth 86 design magenta speckle mariners kylewis Numbered 323 out of 350 refractor lungoria giants How long has he been gone from the rays? He gets traded in Feels like longer than that I guess 17 was pretty long time ago though campasano prism nulla for the fillies aqua rookie auto ashtos brandon belac 154 of 199 rookie refractor chris bubak royals chrono worth rookie um eloy prism prism mc power louise robert and rookie refractor oryals ryan mount castle jazz chism base rookie christian future stars rookie prism brady singer royals aqua rookie auto reds tj anton 85 of 199 refractor padres chris paddock Res is in baseball soto louise garcia 86 refractor matt olson a's prism refractor glaber torres yankees base rookie auto reds tj anton refractor austin meadows future star shon murphy aranado 86 design blue wave cleveland francisco lindore 63 of 75 and a rookie refractor marlin's jazz jazz all nice There you go solid box of 2021 there. Let's do 2022 now I'll start with the hobby 2022 I've got two silver packs one per box here 22 hobby and jumbo Advanced runners got it out That's huge weird place the bunt honestly. Yeah, I get you're missing out. I I don't know weird weird call there refractor karsten kelly diamondbacks Like I get you move out while you're still like you're two outs now like Yeah But I guess a single gives you the lead green wave akunja for the braves nice akunja number two of 99 Almost Blake almost prism yankees garret coal there they go There they go rookie refractor royals jackson collard It's over cal rolly rookie base 87 aranado Yes, dawg. That's correct eoloy new classics refractor adam frazier future stars louise robert rice harper, dude prism rangers coal calhoun rice harper refractor kody bellinger dodgers Yeah, they kind of jazz they juice them up a bit if you will dawg because of that orange refractor auto raise legend here marlin's car to joey wendell 21 of 25 nice color match Yeah, castellanos caught a fly ball.  We got 20 Was it 23 to go still?   There was a marsh 87 design i'm at collegiate first off the line in hobby Or was a random new classics refractor kyle seager devours prism verdugo red sox refractor topi arachis Ernie clement rookie base auto cleveland tim anderson on the 87 Through a silver pack now, then we'll do one after the 2022 jumbo 87 natto rookie refractor fair trial diamond backs That's like every other home game for the yankees mic dave dembrowski the world series getter Joe ryan rookie new classics jenith india orange wave charlie blackman iraqis You go rakies. That's nice seven out of 25 prism flairty for the cardinals base rookie auto pirates rwanzi contraris The kuchen refractor Sorry guys, these are really stuck together more than more so than normal wander franca rookie base for tampon bay hard of the city judge wander 87 and refractor buxton prism rookie astros hosay siri hard of the city auto mets pete alonzo 59 of 99 sweet hit for the mets First one of those insert autos i pulled i love those refractor orials john means future stars kate brian haze 87 vato refractor matt olson Got an o'neill cruise base These cards are fighting me you guys new classics devbers prism catel marty diamond backs refractor tim anderson Conor wong pinch stripes shohio tani blue waves judrick mullins baltimore Number one of 75 was a bray rookie base auto pirates rodolfo castro glass now prism twinge josh donaldson refractor rookie koa royals part of the city alonzo got blue ray wave auto mitch hannigar mariners 142 of 150 refractor santana royals daltho castro new classics tautis prism rookie cardinals larce newt bar refractor rookie mariners cal rally future stars lewis aqua a's matt chatman 16 of 199 tim anderson refractor rookie marlins brindela cruise Yeah, casas should be the first baseman there I don't see why he wouldn't be he's got like An mlb ready played a played approach probably better than most mlb players honestly That played approach prism ashrow is yordan alvarez base auto orials tray mancini refractor rookie d backs tethered you don't gilbert And like average and stuff will come with that pinch drive springer marsh 87 refractor garret coal one more 2022 toms chrome silver pack now any gosman and refractor glas now let's do 2022 sterling bowman sterling 2022 I do some iMac and green too after that If I was the brawn james, I would force a trade to the orlando magic But like you know what? I need to go somewhere that has a winning culture orlando torkelson rookie base tigers ramo space auto yankees tray sweeney nice ad yankees kenzie gore yep has an acosta I hear for the ashes or fillies the fillies Like I don't hate the ashes much anybody else, but I don't want them to win the world series Pirates base auto lani white jr. our snoop are Yeah, myers are good ways away, but I'm pretty excited about him too Just good at everything Let's do a fair child. The dolo. We got a speckle auto repertor compost tigers Number 83 of 99 Manning and castro I wrote against the actuals. Oh, what is this? We've got nine to ten black atomic Pedro panetta a's Love the black atomic and sterling Definitely my favorite peril on the product Other than super I guess But black atomic is unique. Oh, we got a redemption after the benny monk. Are we refractor 4 of 199 rockies? It is a wonder franco rookie auto blue refractor parallel rays Heck yeah, Tampa Bay Blue will be number to 25 big card there Congrats champa bay not anymore, but Former champa bay. I said hey, Tampa Bay. Good box here. Good pack. That was give me a box speckle pyres victor out coast stuff 55 of 99 Base auto tigers repertor compost good box for the tigers as well colton welker and connor wong. Let's do Some iMac and some three and two. I haven't opened any three and two yet. Let's do iMac first I sure got the right box here 2021 iMac or sorry 2022 iMac and then two 2022 Three and two first off the line two of those. Let's do iMac first Yeah, philly all all the philly teams are good. Well, I mean even the flyers are decent right now And that was the that was a team. I thought wasn't that good Philly over all the sports. I mean, they're they're the number one city right now As far as like team success so far, I mean Let's see patch card cardinals dylan carlson 15 of 25 jersey card mets dwight gooden 46 of 99 This yingi's team cannot come back from three down. They just can't do it Not this team Riley Adams one of three iBlack laundry tag auto one of three go gnats They just been talking about excuses the whole series Got mariners logan gilbert auto 12 out of 99 Maybe the metal maybe the Yankees will finally get rid of boon maybe They love that guy Patch auto reg jonathan india 15 out of 25 Reds and joa del jumbo relic auto angels 91 of 99 Six is to be all right All right, three and two photo Give me one sec. I want to look up a checklist here. It's my photo parallels. Come on It just says photo. It doesn't even say like the parallels Apollo gold 12 All right I guess the pad goes first jake I guess My first box ever i've opened this so let's see Joe morganton 99 reds cleveland bob feller two of six and a huli rodriguez sultans 30 of 150 mariners All right, nice curbie pocket full count swatches five-way relic twins Three out of six. That's the first off the line red right there Or yeah red Yeah, all game one. That's a pretty sick curbie.  Let's move on to let's do 2018 bowman chrome Here we go 2018 bowman chrome hobby. I've never opened this product before All right, these will be a little A little start together just because they've been packed so long tautis on the insert Reese Hoskins base rookie It's a good time to get a Reese Hoskins rookie Got an akunya insert there Jay ram and yellich Some color coming up here. I just want to say I wanted to slide against it Mike bowman first bowman six those sanchesh fillies purple shimmer 65 655 is 655. Sorry Ichiro osmer Shelton noisy Victor robles Nola some stealer football I think that you think they're going to win bubba Tanner how we've got a fernando romero refractor 135 out of 499 twins I think williams rookie Starlin cash show as a marlin She'd all in this pack, right? Yeah, that's a redemption. Hopefully that's still good Garrett cooper rookie Redemption is expired. It's a bowman chrome prospect author of jonathan louisiga Um Does that have a team here? Has he ever been not a Yankee? I would look at other should be Yankees. I don't know why doesn't have a team on it's kind of weird It expired. Hopefully they still have that. I imagine they would Um, so we'll double-check if that is Yankees. I don't think he's ever been anywhere else Okay, so that's a Yankees Okay, gotcha. Yeah, that's Yankees So I don't think so, but sometimes it sneaks up on you Kenzie gore insert What I think of jaren durand if you could field the ball, he'd be fantastic It'd be amazing Hudson pave and smith greatly love guy kyle tucker Chance sisco rookie freddy freeman Wade riley adams victor robles bowman sterling rookie sunday al contra rookie And miguel anduhar rookie Benson key boom Hicks Beckman, sorry guys. These are like weirdly stuck. They won't come apart. Willie calhoun rookie Come on big card Son Diaz doll back Hamilton base refractor non numbered or it is numbered Blue Tyler freeman. That was nice 39 38 of 150 for cleveland Acuna rookie base Sorry number on the back here 44 499 reds refractor billy hamilton All right auto coming up here nick allen Shavis first bowman auto edwin rios dodgers We go dodgers josh harrison Max scherzer all right, not the best box. Okay base in there We'll keep moving. Let's do the under wraps Two boxes 2022 fanatics under wraps series two baseballs. These will not be actually I should save these for the end There's not going to be the recap. Let me save those for the end. Those aren't going to be in the recap We're going to put those away Luminaries now to 2022 luminaries God, who's this Who's that? It is a lee smith auto two out of 10 cubs Here you go cubs Lee smith two of 10 and who's that? Is that a mezz? Yeah mezz pita lanza auto 205 nice hit mezz A couple nice Alonzo's in the break so far luminaries came out Friday So yeah, I'll save the baseballs for the end. Let's do definitive now 21 definitive is up first 21 and 22 The cardinals auto aziz smith four out of 35 White Sox auto louise robber 20 of 25 Nice hit white socks. That's a nice hit too Philly's rookie auto alec boom Heck yeah, phil's 18 of 50 on the boom nice hit Had a really good second season as a pro Redemption matt's base auto relic collection purple parallel jacob de gromm Good break for the Mets Nice de gromm purple relic auto redemption Nice hit Mets twin's bat relic auto palm molleter four of 50 Dodgers auto cody bellinger 12 out of 25 Mets jersey card here michael confordo 20 of 50 And Dodger's patch card corey seager 30 of 30 Coley seager Let's do 21 or 22 definitive now. Excuse me 22 definitive that was 21 Let's get this football mixture filled up everybody Week seven 20 box eminence football mixer 23 to go The eminence got 18 prism 21 select 2022 antique legion football Got erin nulla patch card philly 17 of 30 Yeah, let's get it filled up. It's breaking later tonight Padres jersey card mani machado 33 of 35 Cubs jersey auto sammy sosa 19 of 40 Cubs Rage jumbo bat relic auto randier rosa rena 25 out of 25 These dual auto riz huskens and jt real muto 33 of 35 That pair just helped win the pennant Nice hit phil's will get that one mag for you.  This is nasty gold frame patch auto Matt ulson a's four of five Nasty patch three colored jumbo a's patch there Very nice one congrats congrats oakland Ray's rookie auto josh low five out of 25 Got astros base auto nolan ryan five out of 25 All right, let's do sterling then icons then we'll finish with the baseballs 2022 top sterling time Her hit is the big box all rookie cup team and fielding award winners start with fielding All righty, Cincinnati reds dual jersey auto johnny bench 20 of 25 Nice hit for the reds there on the bench goat catcher other than Mike Zanino And then this is tops all star ricky cup team Other than him, I thought that was understood though All right, and this is a blue jays dual bat relic auto george springer 23 of 25 There you go jays All right 2022 diamond icons time This box filled with the brim It's like a bunch of cards like maybe an extra hit in here. There's a thick card as well We'll see we'll see starting off with a david orteez jersey card six out of 10 red socks a's auto Dennis eckersley 13 of 25 nice eck D-back's red ink auto randy johnson 14 of 25 Big unit there with the red ink very nice card patch auto ashows hose al-tube four of 25 Okay, that's a bit ridiculous You know stroze nice al-tube check this thing.  It could be batting glove. I would assume cleat though I know batting gloves are puffier now than they used to be and they have the padding on them Either way that is freaking awesome. It might be a glove Dammit of pieces and this isn't specifically safe, but Could be either way. I think it's cleat, but that's awesome and one of three gold ink auto on the jumbo relic. That's fantastic congrats blue jays Royals auto Salvador Perez seven of 25 Yeah, that's definitely a sick one Nice Perez for kc red ink auto cardinals Nolan aranado one out of 10 Nice color match on the nado auto White Sox auto frank thomas 12 out of 25 A big hurt Cubs again here ryan sandberg auto numbered two out of 25 another rhino Red Sox auto Pedro Martinez 24 25 this one is a little cut off not cut off just like miss. It's like off centered Pedro for the Sox there and red ink cal ripkin jr. Auto baltimore three of 10 What a box of icons nice hit orials Red ink three of 10 cal auto We will mag that Okay, two more boxes here and then we'll do it. We'll have time for a recap for sure No, randoms, right? So, um With these they should not have a team designation on them. So they'll go longest tenure if they're retired And if they're active local current team, obviously But we have like a deedy goryus. He was a Yankee because that was longest tenure. He's a pre-agent. So that's just an example If we have any we that aren't current. That's what we'll do just like all the other breaks that we do All right, two of these fanatic series two under wraps baseball Oh Okay That's pretty nice Like a black leather ball here Aaron judge Golding Yankees What a ball Big time card there the card. I'm so you sing card big time hit troidee with the Yankees Big time card, ha ha That's awesome. And there's your fanatics authentic authentications sticker mlb sticker actually That's awesome. It also comes a little Thing in there a little card in there for fanatics golden judge. That's fantastic Whoo I didn't know that it could be like different baseball. I thought it would just be the plain white one the plain janes That's fan. That's sick, man. Go one more of those man. That was by far the best ball I pulled out of these scratch Troy Big time baseball was not expecting that Who's that? Oh nice Good time to get this Team just went to the just going to the pennant now JT real muto There you go fillies Fanatics and mlb sticker on this one. There might have been a fanatics one on the judge too But definitely had mlb authenticated sticker real muto for the fillies Oh fills did pretty darn well One of the world's here's let me save the other half of that box Right back in there like so There we go. So again Let's go ahead and do our hit recap here. Thanks everybody for filling that up. Let's get that football mixer filled up 20 box eminence football mixer 23 to go We tweeted out recently obsidian's a nice product you get patch autos and Nice looking inserts an obsidian I like it. You got mets the white good in 46 of 99. These are all relics here cardinals carlson to 25 lamehu yankees to 75 Torrez yankees to 50 Mets confordo to 50 Padres machado to 35 seager dodgers to 30 fillies nola to 30 Ortiz red sox to 10 autos now so from prism pirates or ones you can chair us Cardinals Juan Yipez sneak skin to 35 Astros Ronnie Dawson and braves kyle muller Jersey auto not numbered Dodgers max munsey And braves gold freddy freeman to 50 jersey auto Reds tj anton rangers laodity taveras cubs tyson miller Reds aqua tj anton to 199 and aqua astros ran and belac to 199 It's 2022 top scrimm cleveland ernie clements Pirates rons you can chair us amber colpo castro Orioles mancini base blue ray wave mitch hannigar mariners to 150 A heart of the city auto pita lanza. That's a nice hit for the Mets to 99 An orange auto marlins joey wendell to 25 From bowman sterling. We had tigers reberto compost pirates londi white jr. Yankees tray sweeney Tigers speckle reberto compost to 99. We had joe adel patch auto angels from primak Shadowbox auto mariners logan gilbert to 99 jonathan india reds to 25 patch auto Laundry tag auto one of three riley adams nationals the eye black Yankees bucky den archival auto to 299 orials eddie murray to 50 Royals hunter dozier to 50 in the dual relic auto lewisiga uh bowman chrome prospect auto redemption had expired in uh august of 2020 It's an older one from 2018 bowman chrome. I would imagine they still they still have this and hopefully will honor it I'm just not sure yankees. You'll have to uh redeem that That is yankees by the way. He was never a not a yankee prospector player Uh dodgers edwin rio's first bowman auto Degrom metz redemption purple parallel autograph relic from 2021 definitive nice hit and metz. They did pretty well in this break billy's rookie auto alec bowman to 50 bat relic auto paul molleter 450 twins auto for the cardinals ozzie smith to 35 You've got dodgers bellinger to 25 white socks louise robert to 25 jersey auto cub sammy sosa to 40 bat relic a rosarana auto to 25 rays josh low rookie auto raise to 25 astros null and ryan auto to 25 Gold frame patch out of matt olson 405 Nice one a's there From top sterling we had george springer to 25 dual bat relic auto blue jays and johnny bench reds to a relic auto to 25 Icons we had red socks paedra martinez auto to 25 white socks frank thomas to 25 cubs ryan sandberg to 25 royal saboteur pares to 25 patch auto astros hosey l2v4 of 25 Eckersley for the a's 13 out of 25 randy johnson debacks 14 at 25 and the red ink and red ink natto one of 10 cardinals nice hit with the color match as well in the ink Everything else is encased So first off the line three and two we had a kirby pocket Five-way relic game used for the twins to six. That was a really cool kirby That was that part of part of laundry tag, I think I'm not quite sure the bottom left. I think it is quad patch ricky shane boss rays number two six Encased pristine autos dodgers walker dealer white socks gavin sheets louise robert white socks Nato number to 99 cardinals and a redemption From bowman sterling was ricky auto blue wander franco does should be number to 25 If you go raise congrats on that From three and two of the autos now we had ryan sandberg dual relic auto cubbies And a south freilich prospect patch out of something like a star swash whole lone star signature So kind of is like that but We go brewers to five and to six on the uh sandberg to five on the Freilich dual autofillies Hoskins and real muto the uh nl pennant winners did pretty well in the break here Hoskins real muto dual Cubs leigh smith from luminaries the 10 Matt's petal onza two of five from luminaries red ink cowardice jr. Three of ten for the orioles icons and This thing was awesome and one of three It's either a batting glove like like the big padded part or a cleat relic. I think it's cleat of latin jr. Auto on the relic one of three Gold ink is fantastic too. Someone planned that ahead of time And there we go, that'll do it. Thanks again everybody talk to you in just a moment


Hi everyone, Joe for jaspyscasebreaks.com, knocking out a random number block randomizer for just the Hornets in picker team number 16. A very big thanks to this group here for knocking this out. There are the numbers right there. And let's roll it. Randomized names and numbers. Two and a three, five times. One, two, three, four and five. Got Josh down to Josh. Two and a three, five times four. The teams, one, two, three, four and fifth and final time. We got eight down to four after five. Alrighty, Josh with eight, Ben with six and zero. So zero gets you any and all redemptions, including one of one redemptions for the Hornets. Josh, you'll still get any live one of ones that are popped. Jay with three, Josh with five, Brian with seven, Josh with nine, Will with two and Joshua with four. Let's order these numerically. And coming up in a separate video will be the break itself, jaspyscasebreaks.com. Bye bye.


In today's video I'm going to give you my five steps to a better mix in Cakewalk by BandLab. Hi folks I'm Mike and I hope you're well. So recently I released a series about recording a song from beginning to end to the world using your home studio and within that series over a period of around about four to five episodes I covered mixing the song. But I thought it would be nice to have one video where we can take it as an overview and look at the major five steps I go through when I'm mixing a song. Now these are techniques which I've learned over a number of years and I've really found them valuable and they've really improved my mixes. However they're not prescribed to you that you have to do them. You can pick and choose any elements of these. Just try them out and see if your own mixes improve after you've done them. So I'll be getting to all of that in this video. But before we do get stuck in, if you do like this kind of content, all about home recording, DAWs, gear reviews, plugin reviews, that kind of thing, then please do subscribe and ring the bell on YouTube so that you're notified about my future videos. Now let's get stuck into some mixing in Cakewalk by BandLab. So the first thing we're going to talk about is preparation and as usual preparation really is key. Now there's some specific parts about the preparation that I'm going to guide you through now which have a key impact upon later steps, especially the static mix. Spoiler alert, the static mix is step three and I'm going to be asking you to do it as quickly as possible. And in order to do it as quickly as possible, we need to organize ourselves well at this stage. So looking at what I have loaded up here with this project, it's a kind of a medium-sized project and it's got around about 61 channels all in all. Now for some of you that may seem large, for some of you you may have done projects with hundreds of tracks. I think it's kind of medium, especially it gets to that size when you get towards the end of the project and you start adding in things like backing vocals, harmonies, that kind of thing. Now that's already something quite unwieldy if we want to work quickly. 61 tracks is reasonably difficult to manage when you want to work quickly. So we're going to do a few things which enable us to work more quickly. So the first thing is to make sure that your tracks are named.  So for example, with channel one here, we should easily be able to see it's the vocals for the verse. The second one, vocals for the chorus. Just name it something which is going to be meaningful to you. And also of course, if you are working with other people, make sure you name it something which is going to be meaningful to everyone. Now, I don't often have to do anything at this stage because I've usually named my tracks as I do my tracking. And there's a very good reason for that. If I just go to the track view at the top here, you will see, for example, let's scroll down to this guitar. You will see that my guitar here is named GuitarXY and also the clip which relates to it over here is called GuitarXY. Now, if I'd left that at least default name, which would be something like Track23, then the clip would be named Track23. And it's kind of a hassle to change that later. And that can get very confusing because you can't always easily identify your clips during the recording process. So I normally would have done that at the beginning, but if you haven't done it, this is a good time to check that. Likewise, another good thing that we can do in Katewalk, which so many other DAWs cannot do, is add icons to our channels. And you can see here as I scroll along, particularly the middle ones here, it should be fairly quickly, quick and easy to see which ones are guitars, which ones are drums, etc. I find this visual cue very, very useful indeed. And as I say, lots of DAWs don't even have it. So if you don't know how to do that, you would just right click on that area, go to Load Track icon, and it's going to open up to a default folder, which I think would be a couple up from here. Yep, Track Icons, it will go there. And you can see a bunch of folders which relate to different categories of instruments. And you can drill in there and you'll usually find an icon which is helpful to you there. The next thing that I will do is make sure the tracks are in a good order. Now I've already done it in this project, but what I'm talking about here is, for example, I do have these two vocal tracks at the beginning here. And then after that I've got a whole bunch of backing vocal tracks. It wouldn't make much sense if I have my main vocal tracks and then, you know, the backing vocal tracks somewhere else in the console. So I like to shuffle my tracks around and make sure they're in a good order. And the way you do that in the console view here in Cakewalk is if you hold down the Alt key and then go to Blank here of the track, which is in the actual control, say here, then I can click to the wrong place. I'll go just near this pan control here. I'll hold in Alt and then you can see that I can start to move those tracks around. So obviously when I've got things I could do further up here, where I had a guitar and then I had two extra guitars. It makes sense to have those together. Another cool one is to make sure you have your bass guitar next to your kick drum of your drum kit. That's a common one to do because obviously they have a relationship with each other and when you get mixing later on, you'll be looking at those two closely. So it's handy to do that. Now the next thing I would look at doing is starting to group these tracks into buses. Now this is really, really key. So an example of this would be the drums, for example. So we will take the drums which span over several tracks here. We'll go from there all the way up to here. I don't know how many tracks that is. I'm just clicking on the bottom here, holding Shift, clicking at the bottom again and then it selects all of those drums. And what I want to do, although I've got a mix for those drums, which you can see I've set up there, I also want to send them all through to one bus. So I've got one fader which just controls the level of the drums. So later on when I'm mixing, if I think the drums are too loud, I've just got one fader to deal with. I don't have to go through all of these faders and adjust them all. So what I want to do is set up that bus now. So I've Shift clicked at the bottom there to select all those drums. And then I'm going to select down here at the output of the first drum. I'll just open that drop down there. And I'm going to go to New Stereo Bus. Now it's important that I hold Control on my keyboard while I do this. And that will send all of those selected drums through to that new bus, which is now being named Bus B. And that is if I drag this divide all the way across, you can see that here. Of course, I'll go ahead and name that drums like so. And I could also add an icon there if I wish. Now the cool thing about this is it leads on to the next thing that I was going to mention, which was colorizing things or adding color to things. Once you've created a bus like this for the output of a bunch of tracks or channels like that, then when you change the color of the bus in Cakewalk and you can see there, it's changing the colors of all the individual channels which feed into that bus. So let's say I make my drums, I'll make them green like so. That makes it easy for me to, one, identify my drums in the main channel area. And also it makes it easy for me to identify which bus over here on the right hand side, those are feeding into. So that's the two things I would do at this stage. Now what I'm going to ask you to do, which may seem a bit strange to some of you, is do that with all things and create busses for all things. So that nothing in this main area over here is going to be controlled individually later. So for example, now that I've done the drums, I might also go ahead and grab all of these vocals here, these harmony vocals, which I think go all the way through to here. And then I might just go ahead and create a new stereo bus for those, which I've done there, call it backing, quickly typing, which is not a very easy thing for me, backing vox, and then I'll make them all whatever that color is purple. I know my colors. So that's that. And that's fairly obvious. Now I want you to do that for everything. What's maybe not quite so obvious is I also want you to do it for things that don't belong to a group. Just for example, let's go along to this piano here. Now, perhaps we might think, oh, this piano here actually is sort of a thing on its own. It doesn't belong to a group of anything else. I still want you to go ahead and create a new bus for that, which we'll go to in there. And it'll be called piano. You could call it a piano bus or something if that's better for you. And I'll give it a color as well, like so. The reason I'm doing that, which may seem just odd, why feed a single thing through to another single thing, is because in cake, all of those buses are created on the right-hand side, they'll all be grouped together. And what you're going to end up with later, and I'll show you this later, is just a few sliders all together, which you can use to sort of do a macro control of your mix. And that's what we're really leading to, is getting to a stage where we only have a few sliders, faders, I should say, to deal with, to do our mix. So very, very important indeed that you also include those single instruments. Now, what have I got on my list here? Let me have a look. Okay, so the next thing I'm going to ask you to do, and you're going to have to be brave here, because right up until now, you've probably got kind of a mix going on. A mix that, you know, you were listening to while you were recording each instrument. And it probably sounds okay to you. Okay, I want to ask you to be brave and just kind of abandon that. We're going to get rid of all of that. Save it for sure, just in case it happened to be epic. But I'm going to ask you to try and get that mix out of your mind. It probably isn't going to be the best mix, because you've become very, very familiar with it and you've lost objectivity. So, the first thing I'm going to ask you to do is flatten all of these faders. Just zero them. Now, I do this a particular way in cakewalk. So, I've selected the first one there. I've held shift and I've selected the last one like so. Now, there's probably an easier way to do this, which I don't know, but I'll show you how I do it. I then, holding control, I just drag the first fader all the way down to zero. So, they all go to zero. Yeah, and then I hold control again and I double click on the first fader, and ping all of those faders go straight back to zero. You may ask me, why didn't you just control and then double click on the first fader? Because it doesn't quite work. They don't all go back to zero or parity. They will retain their relativity. Anyway, try it. It doesn't work. The way I just did it works and that's the way I like to work. Now, you can do the same thing with your panning. Set them all back to zero as well. And the next thing I'm going to ask you to do, is going to take a lot of braveness on your part, is to delete all of the effects that you had applied. Now, the reason I'm going to be saying that, this is one of those things, you don't have to do this, but I'm going to strongly suggest you do it. I want you to start afresh with your effects as well.  Now, there are some exceptions to this, but I would say the exceptions are, keep in your sort of what I would call stylized effects. These are things which really have created the sound of a particular instrument, and if you take them away, you're just going to totally lose any sense of what that instrument is supposed to sound like. So for example, if you've recorded a dry guitar and you've created an overdriven sound with an amp sim, keep that one in there, because that is the sound of the guitar. You know, we can look at delays even. If you think of Edge from U2, the kind of delay that he has on his guitars really creates the style of that instrument. It really is a part of the whole sound of that instrument, so you might want to keep some things like that in. But in general, including things like reverb on vocals, etc., get rid of it. EQing you've done, I would get rid of it. Get rid of it at this stage. If you can't quite delete it, if you really feel attached to the sound you've created, then at least disable it at this stage. And that's going to prepare us for the next phase, which is gain staging. Now gain staging, it seems to me, is kind of unnecessarily enshrouded in this kind of mystique, is if it's something that only advanced mixes should do or will know about, or even capable of doing, and I think that's entirely untrue. It's something that beginners can absolutely do. It doesn't require you to have really good hearing or anything like that. It's just a very simple functional process. And once you know the steps, you can do it fairly quickly and efficiently. And I think it really does help to improve mixes. Now some people do debate about this.  It was necessary with analog recording, but not really necessary now. And they've got some good points to make about that. However, I would say that my experience has shown me that when I do go through the process of making sure that my gain is healthy, that I get better mixes. Just time has taught me that. I invite you to at least give it a try before you discard it. Now I'm going to give you some specifics about sort of values to set on specific tracks in this video, but I'm not going to go into detail why. I have another video or another few videos, but I'll link to one other video about gain staging in Katewalk. And you can go to that and you'll get a lot more detail. And I'll go through this process a little bit more slowly than I'm about to now. I'm going to give you the basic information that you need here though. So let's start off with an instrument like a guitar because I'm going to treat instruments like guitars differently to drums and percussion instruments. So looking at something like this guitar, I'm making sure that I have its fader at zero as we did previously. And then what I'm going to do is play the track and I'm going to try and get its average volume, its RMS, at around about minus 18 dB, which is just about here where my mouse is wiggling around there. Now, roughly at that stage. Again, I'm not going to tell you exactly why you'll need to watch the other video for that, but that's what I'm aiming for. So I will play the track now just solo that guitar. I'll play it. It's maybe a bit high so I'll bring it down. Not too bad. Didn't have to do too much too. It's done. Then I can move on to the next instrument. Now, hopefully, when you're aiming for that average of minus 18, you're not peaking too high and too high means zero and above. Okay, that's just definitely too high. More often than not, I'm going to find that peaks are around about anything between minus 12 to minus 6, which is absolutely fine. That's what I aim for with those peaks. So if I find that it's definitely peaking that high, then I'll probably just drag it down a little bit, but I'm mostly focusing on the RMS. Then when I go over to things like drums, and I'll just go over here to this kick drum, then I have a slightly different approach as I mentioned earlier. I'll be looking just at the peak level of this because you really don't get that average RMS level. A sound like this is all about a transient, which is there, bang, and then it's disappeared very, very quickly. So in this case, I would play the kick drum and I'd be looking at its peak level and aiming for about minus 12, like so. So very high at the moment. There you go. It's about minus 12, roughly. Now, in the other video I mentioned, I talk about some plugins you can use there, which can just make this process a little bit easier than looking at just the meters on Katewalk, which I just find a little bit fiddly to kind of look at. But that is really what gain staging is all about. You just need to go through every single instrument like that. Just double check that if it's a percussion instrument, it's going and peaking at around about minus 12 dB. And all the other instruments concentrate on the RMS, the average value being at around about minus 18 dB. Three. So we're almost there. We're almost at the static mix, which we're going to talk about in this section, but there's a little bit more of preparation to do before we launch in. Now, there's a couple of things I've asked you to do, just to recap up until now, which are important here. One of the things I asked you to do was group some of your instruments and have them routed through to buses. So the example we looked at earlier was, for example, these drums here. And then I had them all routed through to a bus, which I'll just drag over so we can see it here when my bus is all through to this drum bus here. But of course, the other thing I asked you to do during the gain staging was to set all of your faders back to zero. So the drums themselves as a whole group of things are not mixed. So I'm going to ask you at this stage, before we do our static mix, is to do some little sub-mixes. Now, they're not necessarily going to be perfect because you're not going to be listening to them in the context of the song. But we'll get them in a sort of a ballpark. So for example, with this one, I would go to my drums bus right over the end here and I would click on solo so that I'm only listening to the drums. And I'll go ahead and play them. Now, another important thing I'm going to ask you to do when you're doing any of these mixes at this moment is to do them in the loudest part of the song. Usually for me, with my kind of writing, that's going to tend to be the final chorus of the song. I'm going to ask you to start there. I'll explain a little bit why later, but just follow me here. So we're going to listen to the last chorus of the song and I'm going to listen to the drums. So I might be saying at this point, you know what, that hi-hat's too loud and I'll rain it in and so on and so forth. I'd go ahead and get a sub-mix of those drums. I would also do that. For example, there's going to be a little backing vocal section I had there, a kind of a choir. I would do it with that. There's some smaller things here, like for example, the acoustic guitars. So obviously I've got one main guitar here for the acoustics and then I've got another couple here which are left and right channel acoustic guitars which kind of double up. I get a balance between all of those things. So I'm doing lots of little sub-mixes which are going to lead through, and as we said earlier, they all lead through to these busses. Now if I drag all of those main faders out of the way, you can see here that these are the final faders that I'm left with and these are the faders which are all busses which I'm going to use to actually do my mix. Now something incredibly important for you to do at this stage, and I cannot emphasise this enough, is to take a break. And when I say a break, preferably the next day, maybe even a few days is good, but certainly overnight is something I like to do. If not, at least take a few hours and listen to some other music in between away from this environment, because certainly by this time you've really sort of lost objectivity in terms of the mix. And the next thing I'm going to ask you to do when you go ahead and do the static mix is to try and do it as quickly as possible, usually 10 to 15 minutes, and to kind of work on your instincts. So don't be thinking this is about getting things exactly right in a very detailed way.  However, in order to actually start this mix there's a couple of things I'm going to want you to do which you may find strange. Well, one of them I've mentioned already, and that is to start off with the loudest part of the song. I used to do it in the sequence of the song, so say a song started off with a vocal and a guitar, I'd get the balance between those two right, and then as more instruments were introduced I'd add them into the mix. But what I always found every single time was by the time I got towards the end of the song and there was lots of instruments in there, they were kind of fighting each other and I always end up turning that guitar and vocals up louder and louder. So I started to, a few years ago, started to start with the loudest part of the song for the static mix. Now the other parts of the song we're going to deal with a little bit later. Now the other thing which may be very, very foreign to you, especially if you watch lots of YouTube videos on this subject, is the idea of starting off with the vocal first and then building the mix underneath. I've seen no end of YouTube videos where typically people start off with a bass guitar and a kick drum and start off with the rhythm section and then kind of add things in, and that's fine if those people want to work well, absolutely fine. So for me, with the style of music especially, is that to start off with the vocal, normally drag that vocal fade up to zero and then gradually bring things underneath. Next I might do the kick and the bass guitar and then sort of work in that kind of way, perhaps then some of the guitars. I usually leave things like additional vocals, extra vocals and things until last, all the little frills. I want to get the key components of the music in balance. I want to do it as quickly as possible and the reason we're doing it very, very quickly is because you will lose objectivity quite quickly and you'll get fatigued as well and you don't want that to happen. So trust your instinct. You've been listening to well-balanced music your whole life, hopefully, so you've probably got some idea of how things should sound in a natural way. Trust that. Go ahead, try this and make that mix as quickly as you can. Four. So you've done your final mix and at least in that last chorus everything feels just about in balance.  You should feel just a nice sense of balance. Now it's not going to be perfect. It's not going to be the final sound that you're looking for but that's what you're going to start to work on now. Some of the details of those individual components and then looking at how they relate with each other as well. Now let me get something out of the way. There's no real rules about plugins. For example, I think people seem to think that say for compression that kick drums should always have compression to make them punchy. You know what? Sometimes you don't want your kick drum to be punchy. Some genres of music especially that's really not something you want. People will always say like I always say to get really wide sounding acoustic guitars double them up and pan them left and right and add certain effects. There's no real rules. You've just got to go with what is needed for the song and that sort of leads me on to the next point is always do everything with an intention. So don't just be throwing plugins at particular parts willy-nilly. Always know what your intention what you're hoping to get out of adding that delay or adding that compression or adding that EQ plugin. So that's very, very key because there are some instances honestly it's best left well alone. If something's recorded so well you should probably do very little to it. That can be the best thing at times. So always keep that in mind. I can't go through in detail exactly how you should do each component of a mix but I'm going to give you three rough guidelines as to what I'm thinking about. Three key components I'm thinking about and I'm doing my mix in detail. Now the first category is about tone and clarity. So when I use tone in this context I'm talking about the sort of sound of the instrument. In layman's terms I guess does that sound too basic or does it sound terribly? The way you would use a tone control on a stereo just the basic shaping of a sound to give it its character of course it's going to be a lot more detailed than that in that you can go into intricate parts of that sound and emphasise some parts and subdue some other parts. So that's something that you would be using EQ for. That's the primary plugin for doing that kind of thing. Not the only but the primary plugin for achieving that sound. Clarity is something that we also use EQ for in my opinion but what we're talking about here is rather than using EQ to shape the character of the sound is to enable that instrument to shine or to subdue it. A good example of this which we often use is a kick drum and a bass guitar. They can have the effect of kind of cancelling each other out so you're not really sure what you're hearing just because there's two things pumping away in that similar frequency. It doesn't necessarily mean that's kind of dumbled up and more impactful. They can kind of cancel each other out a bit. So often that's another big role in using EQ plugins. It's to kind of carve out space especially with instruments which are using similar frequency ranges. There's probably a whole tutorial about that I've done somewhere. Not sure if I can remember. I'll put it in the link but it's a really, really important part of using EQs. So that's the first main thing I'm thinking about. Tone and clarity. Space if you like in the sense of EQ space. The next thing that I'm thinking about is haven't we already addressed level with the faders? Yes we have. But now I want to control it a lot more. I want to get a bit more refined because there's going to be a little word here and there in the vocal which just gets a little bit too loud. Now, you can go into your vocal clips in this example and adjust individual words or have you. But of course another common tool that we use as a plugin to tame levels is compressors. Sometimes limiters as well. I'm thinking about compressors here. Compressors are very, very useful for taming those parts of the sound which get out of control. Now remember, a compressor is nothing more than an automated fader. All you're saying is when the sound reaches a certain level squash it a little bit. Now the other settings in a compressor ratio, attack, release determine the actual character of how much we'll suppress that sound by how long for, how quickly we'll do it. So basically a compressor is an automated fader and it's able to do things in milliseconds which you wouldn't be able to humanly react to. So compressors are very, very useful in the mixing stage when you want to control a sound. But again, I urge you, don't think you have to always use a compressor on everything. Some things just don't need compression. Something can be destroyed with compression, especially bad compression. A good example of that for me would be acoustic guitar. You can hear them over compressed and they just get completely ruined. So don't always think you have to use them is the message here again. But that's very important tool in terms of control on the level. And the third important thing that we'll be thinking about at this stage is what I'm going to call 2D space, two-dimensional space. So the first dimension being left and right. So we're really talking about panning here. And obviously there's different types of panning. Sometimes people will use panning to set up a very realistic sound. So they know that say an orchestra always has a way of setting up. So certain section's going to be more to the left and other section will be to the right. Some will be in the middle. So that's one way to use panning. Normally, of course the only things that we don't tend to pan in contemporary music are things like the lead vocal the kick drum and the bass. We tend to like those to be down the center. Now while we're talking about panning another really important thing to remember is to often check your mix in mono as well. Some people will do the whole mix in mono. What I like to do is I mix in stereo, but I flick over to mono when I've done some important panning changes just to make sure that the mix still translates if it's in mono. It's a really good way of revealing when things are not quite in balance. So do remember that. So the main thing to remember when we're talking about the mix is to make sure that the mix that we're talking about is in mono. So the main thing to remember when we're talking about the mix is to make sure that the mix that we're talking about is not left to right but backward and forward. How up front something feels and to a degree does it feel further away. And for me it feels further away. So you have to be a little bit careful. Recently if I just want something to feel like it's in a room rather than in a stereo studio I'll use delay as my primary thing to give it that kind of space. But yeah, the other dimension I'm talking about is forward backwards. Those are the way I like to keep it simple like that. Just those three things. The second one was level using compression and the third one was 2D space where they exist in those different spaces. Now a couple of other things I've got some notes here which I just want to check. So another important part which I haven't included in here because we don't always use it but it's probably going to be something you're going to think about is saturation. So saturation is another one of those things which can really affect the sort of feeling and the tone, the colour of a sound. And often you're not using specifically a saturation plugin. It's often a byproduct of plugins like tape emulators compresses, channel strips, EQs. So saturation is an important thing. It's another thing I think about but it's not sort of for me a primary part of the mixing process but I will think about it at this stage. Now the other important thing to mention before we finish off on this sort of detailed stage of adding lots of plugins is do remember your gain staging. Your gain staging is still happening here so make it a practice. You add a plugin and then once you've done that and you're happy with the sound of that plugin, check that the output from that plugin is the same as the input. So for example at this particular stage in the song it's very simple to do. If the vocal was peaking at minus 12 I just want to make sure after I've added a plugin that it's still peaking at minus 12. Now most plugins are going to have an output control of some kind. Sometimes it'll be automated. I love that and often they're done quite well. If you don't have any of those and you'll need some sort of simple gain control plugin to put in between. Not very common these days to have to do that most plugins that I use I have to say have some sort of output control. But it is important to check the gain after every single plugin because often I think it's a downside of plugins they tend to make things louder. There's two things which are bad about that. First of all your gain level has changed which means you could be too hot going into the next plugin and get undesirable results and secondly it just tends to sound better because it's louder and that's not really what we want. We want it to actually sound better. Not just because it sounds louder. So checking gain still at this stage is very very important. And now we'll be moving on to the final phase. So up until now I've asked you to focus on one part of the song usually the loudest part of the song and in my case for this song it was the last chorus. We're just looking for the place where most instruments are going to be present in the song. But this creates a little bit of a problem because then often in other parts of the song the balance isn't correct. You'll go to the first verse for example just feel like wow that vocals way too loud or what have you. So that's where automation comes in. You're going to go through the process of listening to different parts of your song and adjusting that balance using automation so that your movements are recorded. Now this is probably one of the more important parts of mixing and can really add that final finishing touch to your song so that throughout the experience of that song the listener always feels that everything's in balance. Now in practical terms in Cakewalk I'm just going to briefly go over the mechanics of automation so that you can understand that. But I have covered it in another video. I'll put a link in the description for that. So one of the main things that you're going to do is control the fader and the panning for example. So let's have a look at how you may record your actions here in the console view. So let's say with this track here, this main vocal track, I'm thinking right, I want to actually just change the level here and there in the song. So an easy thing to do is right enable this for automation. So you click on the W button there and you'll see the controls which can be automated there. They get that red highlight around them. You then go through the process of playing the song. You don't need to hit record or anything. Just playing the song is fine and you'll make your moves. You know, moving the fader up and down, moving the panning, whatever you feel you want to do. You don't have to do it all in one hit. You can do those controls separately. Then once you've done that, you turn the right enabling off and then make sure it's read enabled so that every time you play the song, it's going to look at the data which you created during that process and it's going to control those changes to those controls automatically for you. So that's the first main approach to automation. The second approach is to draw it in automation lanes. So if I just make this console a little bit smaller you can see a couple of places there where I've already done it. I'm able to see that because on those particular tracks, I'll just show you what I need to do. So I wanted to see the automation on this track here. Vox, Chorus, Unison. We go to this little drop down here, click on that. Go to Automation and I can choose whichever kinds of automation I want to use or want to see at this point. So if I just wanted to look at the level or the sorry, the bus output volume. I'll go for that. Click on that and now it's showing the bus output volume for that bus. And then what I can do is I can actually draw things in. So we can do things like this and that will make obviously make a change there and go back afterwards. So that's the two sort of main ways of doing it. This is a way for me when for some reason I want to be very very precise I could use this method and that's cool. But if I want it to be sort of organic and really feel it then I prefer to use the first method. However, I will go in and fine tune it. So I'll record it normally in terms of using the console here I'll record my movements. But if I just want to fine tune something because I didn't quite hit it right then I'll go in and make changes in the sort of graphs or the lines here. So that's the main mechanics of automation. Now what would I automate? Well anything actually. But the primary things I'm going to automate first of all a level. So level is just making sure I keep that balance. The other thing I might do is things like panning and panning can be quite useful. Obviously you can go for that effect that was used a lot in the 70s where things can pan from left to right. It's not so fashionable anymore but hey it's one of the things you can do. Now the other thing that you can use panning for is to create width. So let's say I've recorded a main guitar and then I've recorded two backup guitars left and right channels. I can change how widely those two extra guitars are panned to create extra width and you may want to do that say in a chorus or a bridge or some specific part of the song. So panning can be very very useful for that. The other thing which panning can be useful or very sorry not panning. Automation can be very very useful for is to automate effects. And you might be surprised how much you can automate effects in Cakewalk. Now the way that you can see if something can be automated and let's just go for an effect here there's a whole load of effects in there. Let's just double click on an effect there. Now if we take a look I'll just drag it into the middle and we'll zoom in there. You will see right away that at the top of this effect window here you can see the read and write enabling. That means that things will be available for reading and write enabling within that effect. Let's go for another example the same goes again for this fabfilter plugin. There's so many aspects of almost every aspect of a plugin like this can be recorded. So if I want to change an EQ during the course of a song I can do that. Occasionally you'll come across a plugin which doesn't have anything in it which can be automated and basically those read and write buttons won't be enabled if that's the case. That's the easy way to find out. In this particular song if we go back to the sort of graph view you will see here for example that I made quite a big change to the reverb. Now what I actually wanted for this particular sound was to have this vocal absolutely you know sort of caked in reverb and then gradually during the course of that passage of the music it became less had less and less reverb became more and more dry. I wanted to try and get the effect that that singer was actually moving closer towards you. That was a very unusual use of reverb I have to say for me I can't think of many occasions that I've done it exactly like that but it's just an example of the kind of thing you may want to do. Automation really does make the difference between a kind of a good mix and a really great mix. Now the other thing you may be tempted to use automation for is to make certain whole sections of the song louder. It's very common that you want to make say the initial impact of a chorus louder something along those lines. I would say at this stage that in my personal opinion I don't do that right now. Those big macro changes that you make to automation as a song I tend to leave that to the mastering phase which I won't be covering in this video because that will be covered in a different video. I'll leave that up to you but generally I would hold off from doing automation at this stage for the overall sound. So I really do hope that you found these tips useful and that you can incorporate them into your own mixes and get good results. Now if you're confused about anything at all please do ask in the comments down below and I'll do my very best to help you out. If you'd like to share some of your own experience with some of these techniques also let us know in the comments down below and if it didn't work out for you that's fine. It's fine for us to disagree and to do things in our own way. It's about finding your best method for getting the best mixes. Now if you did like this video do make sure you hit the like button because that lets YouTube know that it should show this video to other people and that really does help me out. If you didn't like this video for any reason at all make sure you hit the dislike button twice and make sure you also do it with this angry expression on your face because that's really going to help out a lot and if you like this kind of content do make sure you subscribe and ring the bell on YouTube so that you're notified about my future videos and I will see you in the next video.


So we are back out riding the stage 3. This is the Victor Harbour stage. I've got Georgie with me, RCA coach, we've got Ryan, we've got Craig, RCA member, James, and his mate Richard, and we're doing, how many codes are we doing Georgie? We're doing 190 today.  Maybe a little over if we get lost. Have you brought snacks? Lots of snacks. All right, let's get into it. Can I pass it? Yeah, a long stage because you got it all the way down to Victor Harbour. But we went to the top of the kale and like it just brought back good old memories. You did? Does this mean you're going to get back? 7pm and we've still got, how far to go, right? 37. 37 kms to go. Bag of chips. Everyone's treating themselves. What do you got there, Georgie? Yeah, are you going to get up? James got a Clippo, which is not doing anything. Craig, what have you just had? Just chillin'. Just chillin'? Just put it behind your back, man. Yeah, yeah, yeah. What is behind your back? There you go, there you go. Craig was cool. Craig has been doing too many sprints and he's popped his chain. What have you done? Well, I just like, dropped a couple digits and she's in two bits now. And how old is it? Oh, about three weeks. Three weeks. What type of chain is that? Are you allowed to say? Probably just me not to. You're building bridges. Yeah, sorry. Yeah, we won't say, we won't say. Give us these, Craig. Just, what are these, Ryan? What are we doing with these? We've got some bands to hand out to everyone. So we've got constant pressure, road cycle, you can't have any trying to get our name out there a bit. So we want to get rid of all of them. So come and see us, please. What does constant pressure mean, though? Just keep pedaling all the time. But not when you're doing six hours. So if you had to, oh no! That's for T. If you had the T.D.U., come and see us and get one of these. Not one of the ones on the ground, though. And there is the recovery drink.


Hey guys, this is Hyder from Xtrades back with another monthly update and yeah in this video we'll go over The indices the big cap tech stocks and then the best-looking stocks for the coming month As usual we'll start off with indices So here's the QQQ weekly chart Really nice cup and handle starting to form here. So this is the cup This is the handle and now we're trying to break out. So a really good action the last couple weeks for Five green weeks in a row and this week we finally got a consolidation week. So that's good But this rally has been incredibly strong off these lows and Yeah, let's take a look at the daily chart Actually before we do that let me plot out the resistance line. So Major resistance line over there And there was a major resistance line over there, but we were able to break that and hold that this week. So that's good Um, so yeah 385 is a key support level and ideally we hold that level Now let's take a look at the daily chart So yeah, this I would say this is the key level we want to hold This is the gap up level. So as long as we hold up that gap up We are in good hands and um, you know both definitely have full control of the market right now It's a really good action so far Um, we're starting to consolidate and this is the new resistance level on the daily chart 391 area Every time we hit that we end up projecting But overall really good action and we're consolidating here really nicely. So overall very good action um Yeah, I don't think anything else to say But um, yeah, bulls are in full control And if we can consolidate here for a bit more and then break out then I think there's a good chance we see um new all-time highs But you have a really strong rally so far Now let's take a look at SPY So SPY is a little bit weaker as QQQ already took out this high, right? SPY is still right at it um, so that's one Downside with SPY but SPY didn't consolidate this week and it ended up actually pushing higher. So that's another thing um But overall QQQ and textouts are definitely stronger But SPY is starting to see some rotation come into it as well Um, not much consolidation and really strong Close on Friday. So very very bullish sign and uh, you know, let's take a look at the week we tried again So, you know if we if we can take out this level There's room to 470 and then after that it's all-time highs But really good action in SPY and ideally we want to see some consolidation start forming here Right under that resistance level And then if we can do that and break out then there's a good chance we see a move up to 471 Um, yeah, I think that's pretty much it for SPY Now let's take a look at the big cap tech stocks start off with the Netflix Netflix incredibly strong rally um It's just been going straight up, but it finally broke that up trend. So now it's time for a pullback Um, and I think there's a good chance we could pull back To like that 450 level Um, yeah, that's what I see for Netflix to click the weekly chart really strong Yeah, very strong rally and now it's pulling back. So 450 would be an ideal pullback level Next up Microsoft Microsoft has been incredibly strong making new all-time highs Let's take a look at the daily chart Microsoft's also starting to pull back here And ideally it holds on to that 367 level. There's some support over there. So that would be the ideal pullback Um level overall Microsoft very strong on the weekly chart next up meta Um meta has been basing here for quite some time now um So that's the little base and it tried to break out and now it's pulling back in But it is trying to hold that 326 level So as long as that 326 level or as long as above that 326 level then it's bullish Otherwise, it can just come back into this range and consolidate for a while Next up tesla Tesla's acting All right here. It's it's been very choppy Um, so there's there was a little pull flag here for me And it tried to break out this week buff yield, but it can definitely take off again next week So this one's definitely on watch again And if you can take out that 242 area then you would want to definitely be buying the stock But overall good action, um, but yeah, I want to see that 242 level get taken out And then I'll actually be bullish on tesla And there's also weekly Trying like this. So if you can take out this downtrend then Uh, yes, I can see a big move Next up google google still stuck in consolidation. So not much to say for google Until break breaks either 139, then it'll be bullish or if it breaks 126, then it'll be bearish until then Google's just stuck in consolidation Next up in midia So in midia still basing here very nicely. Let's go to the daily chart It did show some relative weakness. Market was a lot stronger, but in midia Pulled back more than the market. So that's not a great sign But ideally in midia Reclaims that 470 level and if it can do that then it should be fine And it just needs time to consolidate and base But yeah in midia is acting fine on the weekly chart. It's just basing Um, so yeah, nothing to be worried about there Next up we'll take a look at amd Amd had a very nice rally off the lows Let's take a look at the daily chart So yeah, incredibly strong rally off the lows and now it's starting to consolidate has some It has some support around this 117 level. So if it gets down there, that could be a good area to buy the dip Um, but yeah other than that amd is acting incredibly well And if it can take out that 125 resistance level then it would have room to make new 52 week highs But really did action on amd next up apple um Apple is also acting really well here Very nice rally off the lows and now it's forming a bull flag and if you can take that 191.75 level then there's a very good chance that it can continue to break out Um, but yeah, apple is holding up better than most of the big cap tech stocks didn't pull back too much Um, so very bullish design there for apple Next up we'll take a look at air kk. So let's see how good stocks are doing So very very impressive rally off the lows here. Let's see how much percent rally was So that's a 43.2% rally off the lows here. So very very strong rally For air kk. Let's take a look take a look at the weekly chart So it's been base building here for quite some time now And yeah, so this is the base And I think there's a very good chance that we could see it move up to that And then test that 51.15 resistance level But uh, yeah, if they are kk can break this uh base, then there's a very good chance that Really big rally could start but a very impressive rally very strong rally off these lows. So very good action so far, but Um, I think it's time to consolidate and rest here because we are getting pretty extended Um, so I think there's a chance we get to that 50 level and then we end up resting for quite some time And then break out higher overall very good action and growth stocks And uh, yeah, now we'll take a look at the best-looking stocks for the coming month. So I always put a focus on stocks that have good earnings and uh, yeah, so the path is a stock that had a really good earnings beat and insane volume um So when you see insane volume Earning speed that's designed that institutions are buying the stock and that that's exactly what path is showing here, right? So very strong breakout on path here um Yeah, really nice weekly chart here Very strong candle very nice volume path is showing that um institutions are buying up the stock. So Definitely paying attention to this one Ideally you want to wait for some sort of flag and then buy this one Same thing with iot. This one's a newer name. It's an ipo name and uh, yeah, it's making new all-time eyes now. So very impressive stock Took out that resistance level really nice volume And uh, yeah, ideally you want to wait for it to consolidate and then break out again So ups t um Heavily shortest stocks are starting to make a move again and ups t is breaking resistance here and uh Yeah, there's potential for it to make a move up to back up to 35 and then even higher after that So yeah, ups t has a lot of potential made a big move earlier this year and then pull back in But uh, yeah, if it takes out that 35 level, there's no stopping it. It can squeeze really hard So ups t is definitely a name that you want to watch Um affirm very strong breakout. Um this week or last week um had a very nice breakout On monday and then every since then it's just been going up And yeah, really nice volume. So that's a really good sign. Let's take a look at the weekly chart Um, yeah firm has a lot of room a lot of upside potential here used to be 176 So this one definitely has a lot of room and keep definitely keep an eye on it Uh, and yeah, really nice weekly accumulation sign Okay Next up let's look at sym sym is another earning speed name it flagged here and then broke out and now it's currently flagging once more um Flagging and then it actually broke out on Friday So we'll see if it can make a move back up to like that 60 level But really good action on sym. Let's take a look at the weekly chart. This is also a newer ipo name But uh, yeah, really good action. It took out that 54 resistance level So now it has room all the way back up to 60 and then new all-time highs really nice weekly Accumulation and uh, yeah, really really nice chart. This was one of my favorite charts Coin coin had a very nice run up didn't even consolidate much and it's trying to break out again Um, yeah, really really impressive action here from coin. Ideally you want to wait for some sort of pullback and then buy this one Um, but yeah, we're just waiting for some sort of flag to pull back to form for coin, but really impressive action Next up dk and g This one also an earnings gap up and then flagged here broke out and now it's starting to base here And if you can pick out that 39.15 level then this one's a definite buy Really really nice weekly chart as well This one has potential to yeah make move back up to At least 50 53 dollars for sure. Um, yeah Next up shop Shop is another one that also had a really nice earnings gap up And then ever since tennis has been going straight up and now it's starting to flag here very nicely So this one's a top watch for this week if you can tighten up a little bit more than this one's a definite buy really good action on trepify And you could also try to buy this on a pullback buy if it comes down to 70 dollars Um, yeah, I think that's actually all I got for this week. Thank you guys for tuning in and have a good weekend