Transcription
Okay, I've been producing human music for the last 13 years. And in that time, I've gotten millions of streams for myself as well as for some of my clients. And I now use that knowledge to teach you how to use Sununo AI like a real deal music producer. And in this video, you will find everything I know about how to use Sununo AI to make great songs, prompting techniques, how to edit and change the lyrics of those songs, a bunch of cool and underrated workflows, and how to mix and master your Suno Stem. Each section will be marked with timestamps so you can skip around, learn what you want to learn.
Without further ado, let's get into the first section where we cover everything inside of the create tab. So, at the top at this little drop-down menu, you can decide which model you want to use. You have your custom models here, which you can now create your own custom models, which is pretty sick. But if you just want to use what has, they go down all the way to V2. So, you can use version two all the way to the newest version, V5.5. And if you go to the left from that, you have three different options. Simple, advanced, and sounds.
The simple mode, you just type in what you want the song to be about with just one prompt, and then it generates the song. In the advanced section, you get access to a bunch of crazy features. You can write your own lyrics and then use the style box for how you want the song to sound. And man, there's a lot of stuff. There's a lot to go over. And then in the sounds tab, you can create individual sound effects. For instance, let's just type car horn. I mean, it's pretty good.
So, let's scroll back over to that simple tab and let's just make a song. To make this easy, I'm just going to grab a prompt from the 10,000 prompts ebook. It's got 200 genres, 50 prompts per genre, and a descriptor page for every genre. I'm just going to grab a K-pop prompt, and I'll just get the first one. So, we paste that in there, and then create.
>> [music] >> Sounds like something just straight out of K-pop. Demon Hunter. Suna is wild, especially as V5.5. WHAT THE [ __ ]
NOW, let's go to advanced. Let's copy that same prompt again. This time, we're going to put it in the styles box. The advanced tab separates lyrics from style. So, in the styles box, you put how you want the song to sound like. And then in the lyrics, you just put in your lyrics. So, I'm just going to paste in some lyrics I made on ChatGpt about a dad finding out that his son is straight and he's disappointed in him. Whenever you write lyrics, it's a good idea to separate the song structure out in metatags. So, like where you want verse one to be, you would do a opening bracket and put verse one and then a closing bracket. And then you can do the same thing for chorus, verse two. And if you want to learn more about all of that, I've got tons of videos on it. Just check out my channel, Bri.
And then if we scroll down, you now have more options, which is a lot of stuff. For one, you have exclude styles. So that's basically like a anti-prompt or negative prompt. This is K-pop. So we could put things like metal or dubstep, you know, just certain things that you don't want, and that can help get a little bit clearer on what you do want. We also have the vocal gender. So if you want it to be male or female, it's up to you. I'm going to just put female. And for the lyrics mode, we have manual or auto. Manual is where you actually put your lyrics in the lyrics box. Auto is where you tell Suno what you want the song to be about and then it'll create lyrics for you. And then you have these two sliders, weirdness and style influence. And all weirdness does is introduce a little bit of randomness that maybe you didn't prompt out. So for instance, if you take weirdness up to like 100, it's just going to make a bunch of glitch sounds. Uh, if you leave it to zero, it's not going to introduce anything random. If you leave it at 50%, it still basically doesn't introduce any randomness. I really like to have it around 60 to 65 because it introduces just enough randomness to be interesting without destroying the song. But I'm going to reset it to default for this example. And style influence is if you have a prompt that you really, really want it to stick to, then you turn this up higher. But if you're just getting started with prompting and you're not really sure what to type, then I would either leave this at 50% or lower because Sunno is going to try to infer what you mean rather than taking your entire prompt literally. And then you can also title your song if you want to. So we'll just call this straight boy. Then hit create. And once you hit create, Sunno will make two generations just like before. I should have mentioned that earlier when we did the simple tab, but I didn't, so it's too late. It'll basically give you two different versions of the same song.
[music] >> And in the advanced section, you also have the option to remix, upload, or record audio. And everything that you can do with uploaded audio or remixing would have to be a video in itself because it's there's so many things. But I'm going to give you one example so you can kind of see how it works. I'm going to click audio and then I'm going to hit record. If you have a song idea in your mind, you can kind of hum it out. So, we're going to save this to our library. And now that this has been uploaded, I'm just going to drag that into here to remix it. And what's really cool about this is that Suno will transcribe the lyrics and it'll give you a style prompt for what it heard. So, I'm going to keep the lyrics, but I'm going to change this style to be something else. Let's go for some mumble rap. And now if we scroll down to that more options section, you now have a new slider called audio influence. And the way to think about this is having audio influence set high is going to make it more accurate to your melody and your uploaded audio. Having audio influence set low is going to be less accurate, but it's going to be higher fidelity. A lot of the times though, audio influence works great on its default setting of 25%. Sometimes I turn it up if I feel like it's not really using my audio in the sound. So, I'm just going to hit create. This is our uploaded audio. And this is our cover of that.
[music] This next feature is something that people have been begging for, and that is to be able to use your voice in your songs, which I have a tutorial for that on my channel. So, I'm not going to go over all of that, but basically you can upload audio of you singing and you can turn that into a voice that you can use for your songs. And there's also this inspo button where basically you pick a playlist of your own songs or songs that you like and then it'll take that into consideration when making one of your songs that you prompt. And for any songs that you want to make any adjustments to, if you go to the three dots on the right side of them, you get a bunch of different options. So you can get the stems and the MIDI. You can remaster it. You can also open it in studio. You can open it in the editor.
So now that you understand the layout, let's talk about prompting. And we're going to be using a formula I created called GIV, which stands for genre, mood, instruments, and vocals. So to demonstrate that, we're going to make a song right now using the simple tab inside of Sunno. And we are going to make a mainstream pop song. What I usually like to do is have one to two genres. That would be like the main genre and then the subgenre. So for genre, let's put mainstream pop and then contemporary pop. And for the mood, you basically want to think about the whole vibe of your track. A lot of mainstream pop is upbeat, happy, catchy, feel good. So I'm going to put upbeat, catchy, happy, feel good. And then you want to think about the actual instruments. And if you don't know which instruments are in your particular genre, just look it up on Google or something. I don't know. But for this case, mainstream pop, I think about synths, catchy baselines, electronic drums. Now, for the vocal, you want to think about the vibe of your vocalist as well as the register of their voice. For instance, like falsetto or chest voice. Was that mix voice? I don't know. So, you basically want to think about the style of the vocalist, like the personality. You want to think about the actual techniques and the vocal register. And in my head, when I think of mainstream pop, I'm kind of thinking Sabrina Carpenter is. So, I'm just going to say female vocalist, flirty delivery. She's very flirtatious. Soprano vocal register. I feel like she also kind of goes into the alto range though. So, I'll say soprano and alto vocal register. And there you go. There's your prompt complete with genre, mood, instrument, and vocals. So, let's create it and see how it sounds.
[singing] [music] >> And I'll come out of the dark. >>
Now that you get the basics of prompting, let's get a tiny bit advanced and talk about metatags. And metatags are just instructions that you give Sunoa in the lyrics box by typing words in brackets. And those can be things like song sections, production cues. There's a lot of different cool stuff you can do with that and it can greatly influence your generation. Here's the first one. You can add emotion to your spoken word. For instance, here I have spoken word speech sad. And then right after the words in brackets, I have the actual line. And I have the lines that I want spoken in parentheses because that seems to help it stick to it better. So it goes from sad to angry voice to full on yelling. And the very first thing I have is spoken word speech in brackets cuz it seems like the more words you give that are related to that spoken word speech talking etc. it seems to accept it better. And as you can see I did a bunch of generations trying out different variations of this. It seems like having the style influence around 75 works better than having style influence to 100. So, I'm going to show you what this sounds like. This is about a woman who loves cheeseburgers.
>> I'm more of a cheeseburger kind of gal. [clears throat] I do like cheeseburgers. Yes, I do. Believe me now. I have cheese for [music] your woman. >>
Tip number two, sequence. This is used for the song structure of your song. So, I'm just going to grab a prompt from the 500 prompts ebook and paste it into here. Let's get some R&B. For the sequence, we're going to paste this into lyrics sequence. And then however you want the song to be structured. So, let's say intro, verse one, chorus, verse two, chorus, bridge, outro. And I'll get the GPT to write me some lyrics cuz I'm lazy. I'm just going to copy and paste this into. And now the Sununo GPT went ahead and separated out the different sections of the song for the structure. But at the top of the text box, you can also put sequence to reinforce that structure. So, we're going to create that. And I'm also going to test how powerful this sequence thing is by not using any tags for the song and just having spaces in between them. And we'll see if Sunno puts it as the song structure that we want. Here is our contemporary R&B with all of the tags.
mirror, but I feel misplaced. Every little wind still [music and singing] feels halfway when I don't got you to cate. Gave you my heart. Let the silence [music] respond. [singing] Maybe fry [singing] alone. >>
This next tip is if you want to emphasize certain lines in a song. So for this one, we're just going to do a very short song. I'm just going to use the metatag chorus just to show you how this works. So, we're going to repeat the same line twice, but on the second go around, I'm going to put something in all caps. We have, "I swear I love them cheeseburgers. I swear I love them cheeseburgers. I swear I love that bacon. I swear I love that bacon." And for the style, let's just put pop song. Like, [ __ ] it.
>> I love [singing] them [music] cheeseburgers. I swear I love that bacon. I swear. >>
So, that didn't work. I saw this tip online, tried it out. Didn't work for myself. But has it worked for you? Let me know down in the comments.
>> I failed as a soon teacher. I have failed. >>
Another one that's really, really, really cool is let's do choir dramatic satanic. You can do fake words.
>> Oh, so you can repeat that. Change this to like >> la toffee toan fugazi [singing and music] [music] [singing] for me. [music] [music] [singing] That's crazy. That's like that's my favorite. [clears throat]
And if you notice, I stretched out the vowels. If you ever want a note to ring out, just stretch out the vowels and they will do that more expressively. By they, I mean the CIA, not suno. And the next one is for spoken words like right before a chorus. So, I'm just going to grab our R&B song from the Sun GPT that we did earlier. Right before the chorus in brackets, spoken word speech. Then, we're going to put what we want her to say in parentheses. You know, I think we're in a simulation.
[singing] >> It didn't do the speech, but that sounded so good. >> I failed, >> you know. I think we're in a simulation. [singing] >> So, it worked that time. Sometimes you got to regenerate. Regenerate for some things to work. It's still hit or miss. And for the next tip is a live crowd. We're just going to copy another prompt from the 500 pseudo prompts ebook because you know I got to make sales. Put that into the style. And then for the lyrics, we're going to do live crowd crowd shouting crowd clapping. Like since Sunno never gave us like an encyclopedia of mandate tags. You can try out a bunch of different stuff and just experiment and see what works for you. I did this by just I was like I wonder if you can do a crowd sound. So I typed in crowd one day and it worked. And then we'll copy over the R&B lyrics for the classic rock song. It even has the clapping, which is crazy.
[music] So, by now you should have a pretty good understanding of how to use Sununo, how to prompt, and how to use metatags. Now, let's talk about editing. Maybe you want to change a lyric in the song without ruining the whole song or you want to add or take away certain instruments. And this section will cover all of that.
Before we start changing stuff, let's talk about when you would use the editor versus Studio versus the create tab. The editor is going to be best whenever you want to make tiny little changes to your lyrics, like one word or one sentence. So Studio is going to be better if you want precise control over individual instruments. Like if you have a guitar solo in one section and you just don't like it and you just want to get rid of it, the create tab is where we're going to use things like the extend feature. Like if your song just ends abruptly and you want it to have a little outro.
So to demonstrate how to do all these different changes, I have this song that I generated using a prompt from the 10,000 prompts ebook by Chill Painting. I just used a random prompt from the grunge section.
[music] So, first let's try changing some of these lyrics by using the editor. And the way you do that is by going to your song and going to those three dots. Go to remix/edit and open in editor. This is the editor, which looks really confusing, but once you understand it, it's really simple. It's just the way they laid it out is just weird. So, what Sunno has done is break your song into the different sections. Intro, verse, chorus, verse two, chorus 2. And then on the left hand side, you've got all of your lyrics. So to start off, you have to select a section that you want to change. You can do that either by highlighting it right here. And then as you can see on the left hand side, it will choose the corresponding lyrics. Or you can do it by highlighting certain lyrics. Let's just try changing this one word sync.
[music and singing] >> So what I'm going to do is select that section of lyrics. Instead of fries gone cold in the sink, let's say fries gone cold in the pink. So if you want to change one word, it's actually better to select more than one word because it's going to be very hard for Sununo to make it sound seamless with the rest of the song. So we're going to highlight fries gone cold in the sink and then you need to scroll over to this little section right here called replace lyrics. Whenever you click on that, it will give you a text box where you can enter in your new lyrics. So, the main thing to keep in mind with this is the syllables and the rhyming scheme. That's why I'm choosing the word pink because it's one syllable and it rhymes with sync. You could do a word that doesn't rhyme, but it's just not going to have the same effect because the song already has kind of a rhyme scheme. So, I would definitely suggest always keeping the same amount of syllables if you can because that just makes it easier. So, now that we've changed sync to pink, now you can go to this orange replace button, and where it says alternates, it's going to give you two different versions of the new lyric. The first one is done generating. So, let's just click play to preview it.
[music] >> And let's listen to the other version. [music] It's kind of crazy that that worked so well this time because as I'm sure you know sometimes the first to fourth fifth generation doesn't work right. This time it worked pretty good. Maybe they've been working on it. But let's just say for instance that that didn't work and you didn't like how it sounded, you can just click on this regenerate button that's covered up by the previewing a change. Press escape to stop. But that says regenerate. And then you click that and it'll try again. fries [music] gone cold in the pink. >> That one sounded a little worse. So, I'm going to go back to the one that worked and we're going to click commit. And then once you've got your edits how you want them, you can go to save as new song. Now, your edit will be saved to your library. But that's pretty much all you'll ever need the editor for. I try to stay out of here as much as possible because I don't like how it's laid out and it hurts my brain. But before we leave it, you should know they also have different algorithms for changing lyrics. They have smart, which is Sunno decides based on the length that you chose which algorithm it should use. I've always had the best results just using smart. But if you want to switch it up and try something else, you can do classic, which says that it's better for long sections, or you can do fixed for short sections.
And so now you have your edited version of the song, but there's another way to change lyrics if you don't want to jump into the editor. The way we're going to do this is by going to remix/edit. And then we're going to go to cover. And then make sure you're on the advanced tab so that the lyrics and style show up. Don't even touch the styles box. Just keep that normal. And then go to more options. Take weirdness down to zero and put style influence to 100% and audio influence up to 100%. And now let's just change those lyrics to say pink instead of sync.
for gone [music] cold in the pink. >> And this method is a little bit more finicky and a little bit more unpredictable. So, as you can tell, it changed the tone of the guitar a little bit and the delivery of the vocals. And then it's like covering the full song. So, you're probably going to have better results with the editor, but if you don't want to go in there, cover is there for you. That's pretty much all you need to know for replacing lyrics. Is it tedious? Yes. Is it going to give you different results at different times? Yes. But that's about as much control as we have right now.
So now let's talk about adding outros to songs. This one ends very abruptly. But let's say we want like a little guitar riff or something like that to come after that instead of just a Yeah. So we're going to go to the three dots again and go to remix/edit. And this time we're going to click extend. And you see how it has keep on one side and then it has recreate on the other side. Basically, all that is saying is that what is kept is going to be where your extension starts from. So, if we left it right here, it would start extending right after this section.
[music] >> And then the recreate is going to just basically do a cover of what you already had and then extend it more. So, you would think to extend and make an outro, we would just want to do this all the way to the right, but that's not true. We actually need Sununo to recreate part of this for it to have context for how to extend it properly. So it really needs that guitar riff in there. So yeah, we're just going to keep it around there. So that way Sununo has a little bit of the guitar riff to recreate so it knows what to do. So now for the lyrics, I'm just going to keep that blank because it's going to be instrumental. I'm going to delete most of this for the style box and just add the words outro fading out guitar riff. Then we're going to keep all these default settings the same. And click create. And now what Sununo is going to generate is everything that comes after what we decided to keep. Not what we decided to keep plus what comes after, but only the after.
[music] That doesn't really sound like an outro. So this time in the lyrics, I'm going to do brackets. Going to say outro. And then I'm going to say only guitar low gain guitar riff.
>> [music] >> So, the outro does sound a little bit cleaner, but it's just making these sections way too long. I'm leaving these mistakes in here because there's no definitive way to use Sununo, and I'm just trying to figure it out as well. So, I'm going to bring this keep way closer to the right. And let's try creating again.
[music] But let's try it maybe with the style influence up to like 80.
[music] Okay, that one's not terrible, but you know, this is a good example of how Sunno is going to do what the f it wants to do sometimes. But I'm going to show you how to have a little bit more granular control when we get into the studio section. But for now, let's just say that you did [ __ ] with that and you want to keep it. Now, you go to your extension and you click get full song. Now, what this is going to do is put your old generation together with your new extension.
>> [music] >> So now you've got your full song together with your extension. I don't let that failure discourage you. We're going to go into Sunno Studio and I'm going to show you a old timey trick people been using for years for their outro. So maybe this one will do better for you than that. We're going to go to the three dots once more. And this time we're going to go to open in studio. And you could actually do this in editor. So, if you don't have Sono Studio, these same controls work the exact same way with the waveforms in the editor. And that's basically by doing the old school fade out. And the way you do that is by going to the bottom right corner of this waveform, which is our song. And you see how the horizontal clicker shows up? You click it and you drag to the left. This diagonal line is a representation of volume. So, we can drag it all the way over here and it's going to start fading out the volume.
[music] >> [music] >> Volume fades are just a really easy, simple way to make a song end well. That's why bands and pop artists used to do it all the time back in the 80s and '9s cuz it just kind of works.
So, there's a few more cool things that you can do in Sunno Studio to get better control of your song. The first of which is by extracting the stems. And I'm going to choose all detected stems. And basically what this is going to do is divide your song into guitars, bass, drums, vocals, effects, and synthesizers. So if there are certain instruments that you don't want to be playing at certain sections, you can just take them right out, and it's super easy. All right. Now, Sununo has stemmed out our song. I'm just going to select insert all. And now each one of these tracks is a different part of the song. For example, if I solo out the bass. So, let's say in that intro you don't want the drums to come in yet. You can just go to the drums and you can go to the top left corner where the little horizontal thingy pops up and then you can drag it so that it is not appearing in that section. And just like we did before, you can ctrl E to split at certain sections. Let's go to where the vocals come in.
>> Yep. Let's go right there and hit Ctrl E. And then you can grab it at that top left corner. And then now you're only going to have your vocal and the guitar and the bass.
[music and singing] >> And if you wanted, I mean, you could cut out the guitar at that part. And this is really how you can control the entire arrangement of your song. class on the counter. >>
And the cold hard truth is that you just can't do everything in Sunno that you can do inside of an actual DAW. And with that being the case, you basically have three options. One, you can get really frustrated, punch your computer, and just be like, why won't it work? Why won't Suno work? Two, you could download a doll, even a free one like Audacity, and just learn the very basics. You don't have to go crazy, but just learn a little bit about like reverb and EQ and rearranging the stems if you really want true control over your songs. And three, you could just say, "Fuck it. [ __ ] ultimate control." Asuno is generating something for you. You are collaborating with the AI. So, you could just take the L on the chin and be like, you know what? This is good enough.
And just in case you still have trouble with changing lyrics, I have come up with a basically foolproof way that didn't exist until V5.5 came along. It's a little convoluted, but it's the number one way I've seen that actually gives you like 99.9% success rate. So, I'm going to go to sununo.com, go to create, and let's make ourselves a song. Just to make this fast and simple, I'm going to GO TO THE 10,000 PROPS EVEN. I'm going to grab this one and I'm going to paste that into the styles box. And for the lyrics, I'm actually going to go to auto mode and just tell it to make me a rowdy song about chickens taking back their power from the humans. I'll leave this on the Remy lyrics model cuz that's my favorite. And we'll call it chicken fever. Let's create it.
The chickens come [music] home to roost. THEY BETTER TIE THEIR NOOSE. >> All right, perfect. We're going to select this one. I'm just going to click the dislike button on the other ones so that we remember this one. So now it's time to change some lyrics. What I'm going to do is go to the three dots and download. I'm going to download a wave because that is higher quality than MP3. And now we're going to do something a little different. We're going to go up here to the model selector and we're going to create a custom model. I'm going to go to my downloads folder and I'm just going to put this into the custom models six times because you have to have at least six songs. So, I'm basically just dragging the same song in six times. And you might be thinking to yourself, "What the hell?
>> You're telling me for every song I want to change the lyrics for, I got to create a custom model?"
>> Well, if you want it to do it good, then yes. But keep in mind, this technology just came out a couple of years ago, and it's some of the most incredible technology to ever come out with music. You can literally make songs without having to produce or learn an instrument or anything. So just just don't complain. All right, let's name our model chicken fever and create custom model. And now we wait. All right, and our custom model is complete. So I'm going just go to this model selector and choose chicken fever. Now that we have our model selected, I'm going to go to our actual song and I'm going to click it and drag it in here to remix or cover. We're just going to leave this on cover. I'm going to go to the styles box and just delete that. And then we're going to go to our lyrics and it automatically put in our lyrics. So now we're just going to change these. Instead of everybody quiet, let's say everybody down, bro. You don't want to wake the roosters, you don't want to wake the rockets, and we'll change the chorus to instead of the chickens come home to roost, the bats come home to vampire.
>> They better tie their cars down. >> And now we're going to go to more options. And over here in the advanced, I'm going to turn weirdness down to zero, style influence to 100, and audio influence to 100. And let's create. Before I play the new lyrics, I'm going to play you some of the original songs so you can hear how much the exact same the new version is.
>> Everybody quiet. You don't want to wake the roosters. [music] I think it's time we take it back abusers. >> And here's the new one with the new lyrics.
>> Everybody [music] down, bro. You don't want to wake the rockets. I think it's time [music] we take it old school from all the meaters. Same exact voice, same exact delivery. And I didn't even keep the same syllables or anything.
[music] >> Ruth, THEY BETTER TIE THEIR loose [music] come home to vampire. THEY BETTER TIE THEIR CARS DOWN. >>
So now you've got your song, you've edited the lyrics, and it's a damn banger. But now you want to do some mixing, and you ain't trying to get a doll or any of that. Well, you're in luck because there's actually some mixing stuff that you can do inside of Sunno Studio to make your song sound more polished without even having to get a DAW. And I'm going to show you that right now in an easy to understand way. These little doohickeys right here, these dots are called bands. Bands that make a dance. And the bands will make more sense in just a second. So, the best way to think about how an EQ works is from left to right is the range of human hearing. It goes from 20 hertz to 20,000 hertz. On the left side is all of the low frequencies and on the right side is all of the higher frequencies. So, horizontally this represents frequency. Vertically it represents volume. Let's say you do this. This part of the frequency spectrum is going to be 9 dB louder. So, I'm just going to play this drum beat so you can hear what that sounds like.
[music] Now, if I were to take out some of the low end, you'll start to hear the kick disappear. If we only leave the top end, you're just going to hear the sizzle.
[music] And there are tons of different things that you can do with this. So now just below these bands, we have different filter types. All a filter is doing is just changing the shape associated with the band. And it's a lot easier to just show you than to tell you. So we're going to go through each one of these filters individually. So we're just going to choose band two and go to this first filter all the way to the left. This is called a highpass. It's called a highpass because it's letting the high frequencies pass through. So you can interchange highpass with low cut. You can also control what frequency this is by this knob at the bottom. Zoop zoop. This knob is called resonance. This is going to decide how narrow or wide your filter is. So if you go all the way to the right, you see it's very narrow. And if you go all the way to the left, it's very wide. But that will automatically change from just dragging it around. So after a highpass, we have a low shelf. And this is basically if you want to boost bass frequencies like this, or if you want to take out some bass frequencies.
[music] The difference between this and a highpass is that the highpass is getting rid of the low frequencies completely. This is just taking out some of the volume. So let's say you think the bass is just a little too loud. You could do something like that and just get rid of it a little bit. And then we have a peaking filter. This is more for boosting or taking away very specific frequencies. So, if you've ever heard a recording where you can hear like ringing off of something metallic in the room or something like that, that's the type of stuff this is used for. So, I'll just move this around so you can hear how that sounds.
[music] [music] Next, we have a notch filter. the most useless filter in the world unless you're doing neurobase. But this is what it looks like.
[music] And next we have the high shelf filter. And the high shelf filter is exactly like the low shelf filter except it's the opposite. So this is for making subtle changes in the high-end. You can boost it a little bit or take it away a little bit.
[music] And last but not least, we have the low pass filter, which is just the opposite of a highpass. It's letting the lows pass.
[music] Sununo in their infinite wisdom has bestowed presets upon us. These are really good to look at to get an idea of how it works. For instance, for clarity, they have some of the mids taken out. They've got a bump in around the 2.5k range. And then bass boost is just a big old bump in the bass. And lowfi is a good one because this is the radio effect. And this is made by using a highpass and a lowpass. So that way you're taking out some of the highs and you're taking out some of the lows.
So now we're really going to put this to work. I'm going to go back to the create tab and we're going to make a song. We're going to stem it out. We're going to take it into Studio. We're going to use the EQ like it owes us money. And we're going to be using the simple tab because I'm casually just going to go to my 10,000 prompts ebook. 200 genres, 50 prompts per genre. I'm just going to go to acoustic pop. And also, this has tags for the genre, mood, instrument, and vocals. And I'll just go with this first one. Copy that and paste it. And also, each one of these prompts has what the song is about. And it's just kind of random topic. So, you can delete that if you want to, which I'm going to do. And I'm going to say song about falling in love with Suno Studios new EQ feature. Am I gay though? according to my daughter. Yes.
[music] >> Perfect. I love it. Use the three dots to open this in studio after it loads. Now we can open in studio. The first thing we're going to do is click on this bad boy. Go to clip and extract stems. And we're going to get all detected stems cuz we want them all. We want ultimate power. Sorry, I had extra caffeine today. All right, we got all our stemi poos. Let's insert all. And I'm just going to go through each one of these tracks individually and see if there's anything we need to clean up. But it's important that you always remember the listener is going to hear this in context. They're not going to be listening to a single instrument singled out. They're going to hear the whole thing as a whole.
[music] Let's go to the synth. [music] First thing I want to get rid of is this noise. You know that hissy ainess. So that is going to be in the high-end. So I'm going to select one of these bands and we're going to use the low pass filter. And since this is such a background element, I think we can take out a lot of it. Now that I've done that, you can also hear this frequency that's kind of ugly. We're going to dip that out a bit just by clicking and dragging it and bringing it down. And I'm going to turn this Q knob to the right to make it narrow cuz I really just want that one frequency. Now, let's listen to it without the EQ. And then with the EQ. All right. Now, let's check out this percussion. Okay. Not really much to do here with the EQ except maybe activate a highpass filter on one of these bands just to make sure it's not interfering with any of the bass frequencies. Let's hear the keyboard now.
[music] Okay, so this is a really good time to use the high shelf because we do need this high-end for the piano to sound good and for you to be able to hear the articulation of it. But it does have some staticky grossness in there also. So I'm just going to bring this down a little bit.
[music] I'm also going to select this band at a peaking filter because I don't like this stuff in the mids being that loud because that's where the root note of the vocal is going to sit is going to be in about that range.
[music] And I can also hear some clicking in the low end. So I'm going to select another band and turn this into a highpass. And we're just going to cut it to around here.
[music] And now let's get this guitar. I know we're mostly talking about EQ, but I think we need to recreate this guitar so that we can have two different guitar takes. So, I'm going to highlight that whole guitar take and change this to cover. Open this up and go to guitar. And for style, I'm just going to put acoustic fingerpick. And I'm going to put the audio influence to 85 cuz I want it to be basically the same guitar, but just a little bit different. Almost as if I'm getting somebody to play the track twice so that we can double track it. All double tracking is is having two takes of the same instrument, but because they're played slightly differently, it's going to make it sound a lot better and a lot thicker. All right, so let's listen to this new guitar we've generated, and then we'll see how it compares to the original guitar. Here's the new guitar. Here's the old guitar.
[music] That's actually kind of perfect. Let's hear them together.
[music] Okay, it did a really good job with that. That's exactly what I was looking for. So, I'm going to mute this guitar for now that we just generated. And we're going to focus on the original guitar. Very first thing I noticed is there's too much low end. You hear that?
[music] So, I'm going to select band two and I'm going to change this to a peaking because it's only around 60 to 100 hertz that I really want to soften up a little bit. And I don't want to take it out all the way because that bass really gives the guitar weight. And I'm going to give it a little boost with a peaking filter around 1k cuz I want to hear that come out a little bit more.
[music] So now I'm about to blow your mind. We're going to pan this guitar all the way to the left using this slider that's right below the volume. And then I'm gonna go to our new guitar and I'm gonna pan that one all the way to the right by dragging the slider all the way to the right. So now it gives us this very wide guitar sound, but we also need to EQ this new guitar as well. So I'm just going to copy basically what I did with the last one. All right, now let's listen to the bass. And oddly enough, we're actually going to take out some low end from the bass. You're mostly hearing this like 50 to 60 all the way down to 20k. You're really not hearing. And all that's going to do is add extra frequencies that you don't need. So, we can just cut it off at around 20.
[music] And I'm going to use this band as a peaking filter just to take out this mid-range right here because we really don't need that. The guitar and the vocal are going to be eating that space up. Now, let's go to the drums. I think I just want to give it a little bit of boost in the high-end. Now, let's go to our vocals.
>> All right. So, since this is a female vocalist, we really don't need all of this. We can get rid of pretty much everything below 200 hertz. So, I'm going to change this band to a highpass, and we're going to go to around 200 hertz.
>> And I can definitely tell the S's are a little bit piercing.
>> So, usually in a doll, you would use a de-esser for this, but we can still help it with the EQ. And it looks like that's around 5 to 6,000 hertz. So, I'm just going to dip that just a tiny bit.
>> I'm also going to dip out some of these mids right here.
>> Last but not least, the backing vocals. It's a new kind of color.
>> Oo, [music] >> that's so pretty. But, uh, anyways, let's go to band two. Make it a highpass because I can hear some ugliness up in here.
>> So, let's get rid of that.
>> And for this band, I'm going to use the high shelf again to get rid of some of those highs because I don't want this competing with our lead vocal. kind of color, >> but I don't want to do it too much because if you get rid of it too much, it kind of loses that magical feeling. And I definitely need to dip out this like 4 to 500 600 range. That range usually gets crazy with harmonies and doubles for some reason. It's a new kind of color.
[music] [singing] >> Now, I'm going to export this as a full song so that we can download it and we can do a side-by-side comparison of what we started with and what we ended up with. So, I just dragged both of those into FL Studio and up top we have the mix one and this red one is the original. I'm just going to let this play and go back and forth so you can hear the difference. Let's start with the original. my screen. Coffee ring by [music] the keys. Chasing that perfect little [singing] space. It's a new kind of color in the way I hear you now. You're closer [singing] than ever.
>> All right, so this is the part of the video where it gets just a little bit crazy. I'm going to show you some techniques that I use as an actual music producer in real case scenarios using a DAW. Some of it is a little advanced and a little heady, but uh for the nerds who might want to actually get into using a DAW, you might find this enjoyable. It it will for sure help you to make your songs sound better. So, here's our stems. I'm just going to select all of these and bring it into FL. Now, the tips I'm about to teach you will work in any doll if you
don't have FL Studio. First of all, I'm going to change the tempo to 95 BPM. And hopefully everything is on beat.
[music] >> Holy [ __ ] it's on beat. That's going to make our job so much easier because now we can replace drums and do all types of cool stuff.
So, I'm going to go to the vocals and I'm just going to bring these way down here. And I'm just going to mute these for now so that we're just working on the instrumental first. So, we have that brief moment of silence in the intro. So, I'm just going to select all of these tracks, shorten it so it starts with that synth.
Very first thing I notice is there's some hissy nonsense going on in the beginning.
[music] So, we just got to figure out where that's coming from. I think it's this. Nope. It's coming from right here. Now, since the rest of this synth probably doesn't have that issue as much, I'm going to make this unique sample and EQ this separately from how I do the rest of the synth. And you hear the high end is where all of that stuff is. See, it's all up in here.
[music] Now, this part seems a little bit muddy.
[music] So, I'm just going to take out some of this 100 hertz range and I can still hear a bit. So, I'm going to cut this off a little bit more.
[music] And then whenever it comes up right here, I want that high energy to come back. So, I'm going to automate the cut off for this EQ and this EQ. And if you're watching this and you're like, "What the [ __ ] are you talking about? I told you it was going to get nerdy. I warned you." Just from here to here, I want that high energy to come back. So, I'm just going to do something like this. I'm going to click right here and go to articulator tools, copy state, and then paste state. That way, both EQs do the same exact thing.
[music] That sounds good, but it still doesn't sound very smooth. So, I'm going to put a reverb on here that's completely wet. that sounds like this. It's just completely washed out. I'm going to give it a long decay and I'm going to automate the mix of it. So that way starts out with none of the reverb and then whenever it goes into the verse it completely washes out
[music] and then it's going to go right back to no mix. So that way it just goes completely dry.
[music] And just for funsy, since I said we're going full nerd, let's go full nerd. I'm also going to use the panomatic, which is basically just an LFO inside of FL Studio that allows you to control panning or volume. And I'm going to control volume. So, I'm going to have the mix of that effect down all the way and kind of slant up just like the rest of the EQs and everything. And I'm going to turn the amount up and I'm going to make an automation clip for the speed. So that way it starts kind of slow and then goes fast. So it'll kind of give you like a brings the energy up is the only way I know how to describe it. And it also kind of sounds like it's going around your head.
[music] Now since we did lose some of that high-end, I'm going to make a copy of this synth at a higher octave. Going to make unique sample. Bring it into another mixer track. And I'm just going to take out all of the lowend because the first pad or the first synth is using all of that. And then I'm just going to do a completely reverbed out high-end so I can kind of mask those ugly frequencies. See without it and with it. Now let's route both of these to one track together. Even with all that reverb, there's still some grossness in there. Like there's still some AI artifact. So, I'm going to use Soothe, which is basically a DSER on crack. And a DSER just removes like hissy frequencies. It can't completely remove all the hissy stuff that AI does, but it can make it sound better. So now I have exported both of those together as one layer. Now we have one file that just sounds like this.
And now let's work on this intro synth. So the first thing I notice is that clunky very clunky in the low end.
[music] And EQ is really not going to save that. So, we can just take that first note out. Really?
[music] Yeah, we could even chop this note and like replace it. That might work. Yeah, I think that'll work. Sounds a little choppy right now, but once we add some reverb, it'll really help. So, let's get us a big old reverb. Once again,
[music] I think I'm going to add a bit crusher to that scent cuz I think that'll sound nice.
>> [music] >> We could even add an extra delay because the original audio file from Suno already has some delay in it. Adding some more delay on top of that could make it sound really cool.
[music] So, I'm going to export that. So, we have the audio file with all the effects on it. And then let's try doing a higher octave of this also. But I don't want you to really be able to hear it. I want it to be more like a background thing. So we'll even take off the bit crusher and make the reverb completely wet.
[music] And I'm going to use one of my favorite plugins ever, Valhalla Shimmer. And it it's just a reverb, but it's so good for making things sound ambient.
[music] So yes, let's save that as an audio file as well. And before we start EQing everything and making everything sound pristine, I really want to get this intro right. I I work really long on my intros to make sure that they sound good because it's like the first thing the listener is going to hear. That's like when they're deciding if they want to continue to listen. So, always try to make them sound good. And one of my favorite things is to get something from the vocals from the chorus because that like gives you a teaser of what the song is.
>> Too close. So either that vocal chop or the phrase too close would be really good for the intro. So I'm just going to get some compression on that vocal. I'm going to use gain reduction because they have a cool lowfi button.
>> I just like the way that sounds. And the S's are crazy with this one. So we're definitely bringing out our old friend Soothe once more.
>> [music] >> And also before the compressor, we need some EQ. Getting rid of that low mid low that low frequencies and the mids. A little bit of the mids.
>> All right. Gain reduction might be too aggressive. So instead, I'm going to use Neutron 2 by Isotope. And we're also going to do some like reverb and delay on that.
[music] And let's switch it up a bit. Let's use vintage verb.
[music] So, we're going to export that with that reverb on it. And I might try one pitched up all the way, too.
[music] I think it could help having the vocal chop like tucked even further in the background that's like at the drop.
[music] And maybe we'll repeat this. So she says too close twice.
[music] [music] >> So the very last thing we need to do to make this intro polished and sounding really good is add some type of texture, some type of background ambience. My favorite thing to use, especially for music like this, is either birds or ocean waves. And I also have a bunch of different recordings of just random stuff, but this feels like it needs birds to me. And I just have a bunch of samples of birds. But this one, I've used that on so many of my clients songs.
[music] Okay. It sounds so subtle, but like it breathes life into the production. Like hear it without it
[music] and then with it. It just immediately gives you like a euphoric feeling. I'm going to turn it down a little bit cuz I don't want it to be like birds all up in your face.
[music] I usually will have something like that going out through the entire track. Sometimes I'll take it out for certain sections or change it to be a different ambience if I'm going for like a different emotion at a different part of the track, but a lot of the time it's just repeated throughout the whole thing. And I lied, that's not the last thing we're going to do for this intro. We're also going to make a reverse reverb swell for this vocal
>> cuz that's the first thing that's heard. And the way you do that is by reversing the sample and then putting it into a big reverb and then reversing it again. So let's just take this, put it into a mixer track, throw some big reverb on there. Now we can export that with all the reverb on it. So now we have this. And when we reverse it, we have this. If we time it just right to go along with the vocal that comes in, it gives it a very smooth transition.
[music] >> And you can do the same thing with synths, too. But sometimes I just like to have the synth completely dry and reversed into it.
>> And the whole point of all of that is just to make the transition from intro to verse as smooth as possible.
>> [music] >> I lied again. There's actually one more thing we need. We need some type of noise sweep or reverse that really helps with the transition as well. This is from one of my packs called modern post arsenal. Mainly I use this for all of the stuff that I'm doing right now, like the post-prouction stuff, having effects in the background and all of that little stuff. And these are what are called downlifters and they work really good as like sweeps or reverses whenever you reverse these. So I'm just going to use that one and reverse it.
So now that we have the intro done, let's get to mixing the rest of this, which is actually going to be a lot easier than what we just did. I'm going to start with this synth since this like the first thing that comes up.
>> [music] >> So, the first thing I'm noticing is is why can't a [ __ ] talk? So, the first thing that I'm noticing is this sounds just a little bit too dry. So, I'm going to put a short reverb on there.
[music] And I can also hear a little bit of mud in this area. So, I'm going to take some of that out.
[music] Then let's get these drums that also have a pad in them. I'm just gonna take out a little bit of the high end.
[music] So that way we can't hear the snaps as much. And I'm also going to take out all the bass because the synth is taking up the bass.
[music] I'm also going to throw a stereo enhancer on there just to make it a little bit more wide. And then we can add a clap or our own snap to go into the middle to be like the main drum that's heard.
[music] Now, let's make a new pattern and get just like a tiny clap. I really like these small room reverb claps.
>> [music] >> It's a little too low pitch. So, I'm just going to raise up the pitch of it. And without it. See, the clap adds a lot of energy that that snap wasn't bringing.
[music] Another cool thing you can do, it's a bit of a tangent, but for the people who really want to get into production, I think you'll appreciate this. I'm going to duplicate the sample and then reverse it sometimes. So, I'm just going to do it on every second clap. When you do it on every clap, it gets a little redundant.
[music] Definitely got to turn that down though. I just had it loud so that you could hear what's going on.
[music] And I also want to add some high hats. High hats are really good at like subtly picking up the energy. I'm just going to do a rhythm that kind of accents the clap. Okay, so now we're transitioning into the build. And a lot of times with builds, you'll have impacts and you'll have downlifters and then risers and noise sweeps going into the drop. Uh Suno did make this impact, but I don't like it. So, I'm going to get rid of that. And I'm going to put my own impact. Uh, this is from one of my sample packs called Lincoln Pork. I don't have this on the YouTube shop anymore. I don't It might be on my Patreon. I'm not sure. And let's also get a downl.
[music] It sounds so good, but uh that's way too loud. So, let's bring that volume down a lot.
[music] Now, let's make this sound a little less AI. That hissiness lives around this region, like 2K and up.
>> [music] >> Okay, looks like it's actually around 6k.
And since we are going into a buildup, I want this to get wider as well. So, I'm going to put another reverb after the short reverb, but it's going to be a long one.
[music] And then we're going to do exactly what we did in the intro. I think I've cracked the system at least for ambient stuff on how to get rid of the noise. You take it out in the original and then you make a duplicate of it at a higher octave and you put a [ __ ] ton of reverb on it and problem solved. Pitch it up so that it sounds like this, which already sounds pretty as [ __ ]
[music] Now I'm going to do something a little bit crazy. I'mma put camelc crusher after the reverb. This is basically like a really heavy compressor plus saturation. So, it's really going to squash the sound into the reverb, but that gives you like a really big sound, especially if you squash it a lot and then you tuck it in the background.
[music] Now, we need to get this bass for the build a lot more controlled because, as you can see, the volume is kind of everywhere. And for bass, we really want that to be stable. So, the first thing I'm going to do is put Camel Crusher on there. Again, the uh British clean preset. I don't know what it does, but it's amazing.
[music] >> And honestly, for this, I would rather just replace the bass completely. And this type of bass is really simple to make. Like, it's really just a subbase, which is usually just a sine wave. I'm going to draw this out at a higher octave because it's just easier to figure out the notes. Let's mute this bass and work on this one a little bit to get it sounded similar to the sun one.
>> That's all right. It's a little boring, though. I'm going to turn on the legato and mono so it slides from note to note. And I'm going to increase the attack a little bit so we don't really have a click. I'm also going to add a saw wave on top of this sub and just like d-tune it a little bit. I think that'll sound nice.
[music] >> Yeah, I like that [ __ ] But we got to put a low pass filter on it to get rid of that high-end buzzing from the saw wave
[music] too fast. Yeah, we could even add a little bit of randomness to that low pass filter. So, this is a sample and hold LFO and that's controlling the cut off of the low pass filter. So, basically all that's doing is randomizing the cut off of the low pass filter. So, that sounds like this.
[music] [music] And that's just going to give it a little extra life. But I'm still going to tame down some of these highs just in case they poke out sometimes.
[music] We're talking too fast and I'm scared.
>> And if I was really going hard on this, I would probably add like three or four layers of bass and EQ them differently and just kind of fill out the frequency range a little bit more. But this is probably already too much what I've done already. So, but let me know down in the comments if you do want me to do all that cuz I'll I'll go crazy on this [ __ ] I really will. Now, I kind of want to add this vocal chop from the intro this one at the second half of the build because that's just going to tease it a little bit more.
[music] And I want to add some type of melody to make it really easy. Actually, we can just take the build base MIDI and we can copy it in here. And then we can turn this into chords.
[music] We can just turn this into an arpeggio in FL Studio. You just hit the gear icon and then go to the wrench. And then you can either do a randomized arpeggio or down. I'm just I'm just going to go down.
[music] So, if we just assign this LFO to the cutff, we can make like a little filter or a plug sound.
[music] [singing] I'm also going to assign a macro to the cut off and automate that so that way the cut off filter opens up over time and it just sounds nice.
[music] >> I'll show you what that sounds like. It's like opening up and it just really builds nice. So, let's also do Camel Crusher on British clean because that always sounds good. And we'll take some of the high-end out, some of the low end out. And we're going to push this towards the background because I don't want it to be the main thing you hear.
[music] >> Now, we can throw some delays on there, like a ping pong delay,
[music] and another reverb.
>> All right. And we're almost done. I'm just going to get this drop mixed and then do a little bit of mastering. You know, you learn the concepts from all of this. We don't need to do the whole song. So, first let's get this bass a little more in your face.
[music] Cool. I've already got British clean on there. I'mma bump up the sub a little bit. Okay. So, I'm just going to export that with Camel Crusher on it so that I can add an extra wideness layer of bass. And then with the duplicated bass, we're going to distort it and then widen it. So I'm just going to use kilohz distortion. And then afterwards, we're going to highpass it to get rid of all the low end cuz we're just trying to get some extra bass crunch, make it fill up the frequency spectrum a little bit. And then I'm going to use our handy dandy stereo enhancer. Make it wide. Maybe we can take out some of the mids. But basically, this is just going to make the bass be heard on smaller speakers because they usually have a frequency cut off where you can't really hear the sub unless you have subwoofers or something. So, if you're listening on your phone or something like that, this will really make the bass be heard more. It'll make it sound bigger. All right. And let's get these drums. Okay, those drums just sound too not good. I'm just going to take out all the low end of it and just recreate these drums. I'm going throw the British clean preset on there again because it just really makes stuff stand out. And I'm going to take out like all of the low end so all you can hear is this.
[music] I'm just going to use one of my favorite kicks. And let's get a future bassy snare.
>> [music] >> All right, let's send our kick and snare to their own mixers and then I'm going to route them to the same track. So, one thing I do in all of my tracks is I do a transient shaper on the kick and the snare that really brings out the transient and then I put a soft clipper on the kick and snare bus.
[music] Bass and drums are sounding good. Let's get this first synth. Just throw camel crusher on it. I'm telling you, British clean camel crusher is the goat. That already sounds good. Let's just highpass it. Get rid of the bass on the chords.
[music] Let's get a small room reverb again.
[music] Now, let's bring in this synth, which sounds like this.
[music] Kind of want to try making this a higher octave.
[music] Yeah, that's nice. Uh, let's put Killer Hearts Ensemble on that. Give it some D-Tune.
>> [music] >> Yeah. And then do some British clean on that one as well. Definitely got to highpass that.
[music] [music] And I really want to have that large room reverb sound, but I don't want it to ring out whenever the chords stop. So, I'm just going to automate the mix of this reverb to cut out every time that the synth does.
[music] And then we got these two synths. So, for this lead, I'm going to do both of them on separate mixer tracks. And I'm going to use the stereo enhancer again. I'm going to go to the right and then wide. And then I'mma copy this exact stereo enhancer, but then go to the left. So that way it's delaying the signal in two opposite directions and it kind of fills out the whole stereo field. And then let's route that to one track together. And then we can use the camc crusher once again just to kind of crush them together. We can definitely get rid of the low end on this too because we don't want anything to clash with the bass.
[music] So, let's see how that all sounds without the vocal chop. Now, let's get this vocal chop. And then after that, we're going to mix the actual vocals. Then, we can move on to mastering. I'm going to make the vocal chop unique as sample. Let's throw some OTT on it. Maybe a little bit of reverb.
>> [music] >> I wonder how this will sound with a low layer like this.
[music] Last but not least, let's get these vocals done. And I've actually already got a vocal preset for one of my clients. So, this lady's voice is similar and I think it would work really well.
[music] [singing] >> Yeah, it sounds good. And I'll just show you a little bit of what's going on in this vocal preset. First, we've got a high cut around here. It's pretty high, but usually for female vocals, this is like a good starting point around 120. And then I've got Neutron, which is just doing some EQ cleanup and a high shelf on the highs and a little bit of multiband compression.
>> And then another EQ to bring out the highs a little bit more. And then we've got Soothe, which is just doing a little bit of DSing. and
>> then I've got it running into a compressor
>> where that compressor is just kind of kissing the vocal and just like barely giving it that little touch. But then my secret sauce is I slam that [ __ ] into a limiter. I don't care what anybody says, that [ __ ] sounds good. on my fingers.
>> And I'm realizing we can turn up the synth volume a little bit.
>> And now what I'm going to do, I'm just going to make some effects buses. So we're going to route to this track, not route to this track only. So that way the signal is coming from the original and it's also coming out of here. And I'm going to do a simple pingpong delay. Turn the dry down and have the wet up. And then I like to use the annihilator or annihilate preset from Camel Crusher. That just like gives it a nice distorted saturated sounding,
[music] >> but we're going to EQ after the distortion. So you really just barely hear that. But it really helps add rhythm to the voice and makes it wider. Ink on my fingers fading blue backseat
[music] he perfume [singing] windows have open.
>> And then let's route to this track as well so we can do a reverb. I'm going to do vintage verb cuz I like the way that [ __ ] sounds.
[music] [singing] >> And I'm going to go a little bit extra cuz I like to be extra. I'm going to duplicate this vocal and we're going to do a fake harmony. So, I'm going to put this duplicated vocal in its own mixer track. Do the safety limiter and put on stereo enhancer. And I'm going to put an autotune before all of that. Usually, I would go into melodine and just draw this out by hand, but that takes a while. So, I'm going to change this to F# major. So, we can do this the easier way. I know that a third harmony would probably sound good with this. It's like a major third which would be four semmit tones up from the original tune. So if I turn this up four semmit tones without the autotune it wouldn't stay in the same key because it changes all the notes that she's singing. But if we put the auto audio tune afterwards that'll make sure all the notes all the notes stay on tuned.
[music] >> [music] >> Definitely got to get rid of some of that high end though cuz it's starting to get crazy.
[music] >> If I really went through the entire process from front to back, this would be a very long video. So, it's already a long video. Let's quit while we're ahead. Now, I'm going to show you my mastering process, which a lot of the times is just jamming it into a clipper, but that's like you really got to have your mixing really good to be able to do that and make it sound good. So, we're going to use Ozone because that's the most beginner friendly way to master something. I'm going to put uh Fruity Balance on the master, which is basically just a utility where I can control volume and panning. And I'm just going to turn the volume down some on the whole thing. I like to get it around like six, like negative 6, -3 dB,
[music] because ozone's just easier to use when there's more headroom. So, we're going to get the loudest part of the song, which is the drop, and then we're going to use the master assistant. If you have songs that you like that are similar to what you're going for, you can use this reference, and it'll try to copy the mastering of another song. Uh, since I don't have one of those, I'm just going to set streaming as the target. And it's going to listen and give us like a preset to start with.
[music] And the first thing I usually like to look at is the EQ because that can give me hints into what might be wrong with the mix. Like you can see, it did a big bump in the low mids, which means I probably need to make the low mids and my bass a little bit higher.
>> [music] >> And then we can bring this down on the master. So I'm going to bring this threshold down on the maximizer, which is basically just going to squash the [ __ ] out of this thing and make it nice loud.
[music] That's already sounding great, but I'm going to add this imager and make the high band really, really, really wide because you want to think of your stereo field kind of like a comb. Kind of like you can see right here where the lower frequencies are more mono and as you go higher in pitch or frequency, they get wider. And this is especially important with stuo stems because I've noticed a lot of the times they are like completely [ __ ] mono. So, I'm going to do it all the way on the highest band. Maybe do like a little bit like that on this one. And I'll usually not even touch the sub because I'm usually really particular how I do that in the mix already. And yeah, that's pretty much it.
[music] All right. Now I'm going to export this as just one track so we can AB the original SNO generation so you can hear the massive difference this made. So now I've got both the waveforms in. Let's change the color of this so you can see it easier. So this is the chill panicified version and this is the suno version. And if you're bored and want to skip past this part and don't want to hear this whole thing then fine, do that. I don't care. Uh, I'm just going to keep going back and forth between the Chill Panica and the Sunno version.
[music] [music] Ink on my [music] fingers fading blue. Backseat he perfume [music] windows have open. You [singing] said get attached [music] like a joke. You know, but you laugh in my chest like [singing] a base broken. Heat. Heat. Heat. [music] [singing] [music] in my pockets. [music] [singing] Too close. [music] [music] And that's going to do it for this one. If there is anything else you want to know about Sununo AI, let me know down in the comments. Or I'm going to go to heaven, come back down, go to hell, and I'm just going to keep like going around in a loop until the loop has expanded everywhere.