Getting Started With Music Production - Videos

The 73 videos that demonstrate how to do the exercises in Getting Started With Music Production are available on the book's YouTube playlist. The Studio One session files that are used in them are available to readers on Hal Leonard's website. 

1-1. How to set a good recording level for a microphone track.

1-2. How to record an electric instrument without using an amp.

1-3. Recording line level input.

1-4. Playback of the distorted recording of the word “please”

1-5. What phase cancellation sounds (and looks) like.

2-1. How to normalize a track.

2-2. How to record and edit automation.

2-3. How to create a fade-out by automating the master fader.

2-4. Setting the threshold of the compressor so that it is activated only for the peaks of the signal.

2-5. Raising a compressor’s output level.

2-6. Adjusting the parameters of the X-Trem plug-in.

2-7. Export your mix so you can play it outside of Studio One.

2-8. Compare the effect of panning low- and high-pitched sounds.

3-1. An additive approach to mixing the drums starting with the kick and snare.

3-2. An additive approach to mixing the drums starting with the overheads.

3-3. Panning the drum mics closer to the center, and then all the way to the center so that they become mono.

3-4. How to create a new folder and bus channel to make a submix.

3-5. Start with the rhythm section to set the groove

3-6. Start with the lead vocal

3-7. Mixing the same tracks using the subtractive approach.

3-8. Mixing microphone and DI bass tracks.

3-9. How to blend natural and sampled sounds.

3-10. Working with the doubled tracks in “Easy Street.”

3-11. Finding the right balance for a guitar fill.

3-12. Clicking on the pop-out icon opens up the Console in a separate window.

3-13. Assigning colors to tracks.

3-14. How to reorder tracks.

3-15. Creating a group to use one fader to change the volume of a number of tracks.

3-16. Inserting a multiband compressor and a reverb on the Main output.

4-1. Deleting a selection leaves a gap.

4-2. Deleting time doesn’t leave a hole.

4-3. Apply fades between two regions.

4-4. How to record a series of words while listening to a click track and delete the measures in which the words were spoken off the beat.

4-5. Moving the offbeat words, rather than cutting out the measures.

4-6. How to nudge events onto the beat.

4-7. Punching in to fix a mistake after setting up the Preroll and Auto Punch parameters.

4-8. How to edit together parts from two takes.

4-9. How to add an intro and outro to an existing recording.

4-10. Copying, pasting, and duplicating audio events.

4-11. How to create a drum pattern to use in place of a click track.

4-12. How to quantize audio using bend markers.

4-13. Changing the quantization strength.

4-14. Changing the quantization grid from quarter to eighth notes.

4-15. Two ways of changing the pitch of notes.

5-1. Seeing an animation makes it easier to understand that the horizontal axis represents the passage of time.

5-2. Using PreSonus’s Tone Generator plug-in.

5-3. Changing the level of the components affects the tone.

5-4. Each vowel sound has a different spectrum.

5-5. Creating space in the spectrum for the two instruments.

5-6. The guitar and electric piano filtered and panned apart.

5-7. Reducing hiss and pops with a low-pass filter.

5-8. Adjusting the parameters of Studio One’s Channel Strip midband peaking filter.

5-9. The effect of turning up and down the bass and treble control knobs of an amplifier can be simulated by adjusting the levels of two tracks of an audio session with the appropriate filter settings.

5-10. The contributions of each of the drivers in a three-way system can be simulated in a DAW.

5-11. How to use low, low-mid, high-mid, and high-frequency controls.

5-12. Function of solo and mute buttons.

5-13. Adjusting the tone of a kick drum.

5-14. Turning down the resonant frequency of a snare drum.

5-15. Using a high-pass filter to compensate for the proximity effect.

5-16. Setting the cut-off point for a ukulele.

5-17. Using an FX Chain on a vocal track.

5-18. Observe the changes in the spectrum over time.

6-1. A single room mic can be blended with close-miked drums.

6-2. Adjusting the wet/dry balance.

6-3. Adding reverb to some tracks and not others creates depth.

6-4. Adding some high frequencies to bring the guitar forward in the mix.

6-5. Creating the Haas effect.

6-6. Electric piano with and without a chorus effect.

6-7. Beat Delay synchronized to the metronome.

6-8. How to use the Beat Delay plug-in to create a slapback echo.

6-9. How to plug in an EQ, reverb, and limiter on the Main output bus.

10-1. Rearranging the blocks with editing tools.

10-2. How to create automation to control the level of a delay plug-in.

10-3. Adjusting the parameters of the Presence virtual synthesizer.