So amazing, thanks so much for taking the time to share your process and break this down thoroughly. Priceless information.
Very cool course, I on lesson with percussion understood that this the most the best option write music, sounds already on level-6 dB, before I could not achieve transparency and volume in his mix, thank you huge for done work
Quite a good course, thanks!
Nice, a really great teaching style
Hi James,
perhaps this helps you a bit to get best friends with Fruity Delay 3:
If you use the pan knob on Delay2 for making the sound wider in PingPong mode, you should really do the same in Delay3…
It´s a bit of nonsense to swap between the Stereo and PingPong mode on Delay3 in your mid bass tutorial with having the Pan centered and wondering why the sound doesn´t get any wider…
This is hands down for me the best tutorial I’ve done. It’s so structured and thorough. I have learnt more from this course in a few hours than I have in months with other courses, which seem to get you to a certain point, and then your lost trying to figure out what is the next step you should take. I’m not even using the same DAW but the process was explained so well that I found it effortless to translate into my workflow.
Thanks so much for this!
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This is the best Uplifting Trance tutorial on Sonic Academy to date. The most useful information shown was the techniques involving the buses and automation. This course is a must have for beginners and a great place to pick up useful tips for intermediate to advanced producers looking to achieve a better sounding mix.
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Thanks again James, returning from your last ULT course and you have certainly refined your workflow yet only increasing your production quality!
Also, does anyone have the Synth Presets for this session? I dont have FL Studio to open the session. Thanks in advance 
Hi there @ShannonKick
Which Synth Preset are you referring to Please ? Thre’s Leads, Plucks, Pads & different soft-synths like Sylenth or ANA 2 used in this course, so it’s hard to guess which preset you’re looking for.
Next to this, my advice would be to download & install FL Studio Trial, while the limitation is not being able to re-open “saved” Projects, you can open other’s Projects, was actually able to open this session with a trial version of FL.
What an amazing course this is! This course gave me so many new insides to take my next trance productions to a higher level!
The only thing that I still couldn’t figure out was how to set up both a high pass and a low pass filter for the automation clips (for the Bass Buss and Kick&Bass Bus for example). Once I set them up both (each with their own ‘‘Fruity Filter’’), they seem to interfere with each other. Resulting that the bass and kick is fully getting filtered away, even though I know how to set up the filters individually. Can anyone help me out?
Omar
Hi there @Ootje98
Which video & time are you referring to about this issue with settings those high & low pass filters ?
Hi there!
I am referring to 1:30 (LP and HP filter for the Kick&Bass Bus and the Bass Bus) and 2:25 (LP and HP filter for the Intro Leads Bus) in Tutorial 17 - Intro Structure Part 1.
Setting up either a LP or a HP filters seems to be no problem, but once I set up both a LP and a HP filter, things are getting complicated.
@Ootje98 Yep, not very clear from the video how the filters were set up, not sure what device is used & how it’s set and if the LP & HP filters are applied on a send track or if the tracks like “Kick HP” are simply automation lanes. I also opened the project downloaded from the resources, it might help to see what has been done, but since I’m really into unknown territory when it comes to FL Studio, I’m still unsure about the above. Have you tried to check with the full project btw @Ootje98 ?
@James_Dymond could you please get back to @Ootje98 question and explain a bit more about the way those LP & HP filters are setup during what you refer as the “DJ Intro”, the purpose is obvious but the way it was done might not be clear for some people I think, thanks.
I got it sorted out! I want to thank you for your help and @James_Dymond for this great course
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OK, cool to read that you get it to work, thanks for the update. Sorry I couldn’t help much, again I’m not familiar with FL Studio. The way I would do this in another DAW like Ableton Live would be to set a filter device on each track like Kick, Bass, Sub…etc. Setting up the filter accordingly ( Low Pass or High Pass ) and then write the filter cutoff automation curve.
Sometimes if you have many tracks that need to be filtered, it can lead to simple mistakes like using the wrong filter type or writing the automation curve in the wrong way.
Anyway, good that you got it working 
The only 3rd party plugin I do not yet have is the Vertigo VSC-2. I intend to get it when its on sale or when its in the budget. Until then I was curious to know any alternatives that can achieve a similar result on the busses.
I use Logic Pro X that has a compressor with 3 types of VCA:
‘Studio’ based on the Focusrite Red 3
‘Classic’ based on the dbx 165a
‘Vintage’ based on the SSL G Bus. (I think I can rule this out as he uses an SSL when he needs one)
Otherwise I do own the FabFilter Pro C2 whic halso has a few compression types.
So far (up to video 18) this has been a great tutorial. I didn’t need the composition or sound design, so I’m glad this specifically focused on the eq, processing, and mixing.
I also don’t yet own the Slate Digital ones, though I do use the Waves NLS and Soundtoys Decaptitator (very subtley) to get more or less the same result.
finished the course a few weeks back and it made loads of difference in my new projects & workflow. Now I want to comment for those sweet sweet points cheers James, & thank you sonic academy
@Matthias1981 - to be honest, I would say from experience that the Vertigo VSC-2 is actually quite similar to the SSL G Bus comp. The main difference I find is the attack on the SSL is a little bit ‘sweeter’ and less harsh than the VSC.
So the ‘Vintage’ comp on Logic Pro X should replicate the sound quite nicely.
It’s been a while since I’ve used Logic, but I do remember that on vX the different compressor settings/emulations are really nice!!
I wouldn’t get too caught up about which type of compressor to use for certain situations. If you don’t have the one I used, just something you have already.
In this course, I wanted to show what effect a compressor will have on a particular instrument/group - the end result. I use the “analog emulations” because I feel they give more ‘character’ to the compression, but you can still use “digital” compressors and achieve a very close result to what we have in the videos
Hope that helps!
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First of all, Tekalight - thank you for commenting on multiple posts on here, helping to answer and explain other user’s questions. Looks like you know your production stuff for sure!!
Secondly, apologies for the delay in responding, but it seems like you have sorted out your issue already.
But just to add my bit of input…
I have added Low Pass and High Pass filters on the: kick & bass bus, HP on the kick, LP & HP on the bass, LP & resonance automation on the Perc Bus… And then multiple LP & HP on the rest of the elements.
The low pass will remove frequencies starting from the high end down to the low - vice versa, the high pass will remove frequencies starting from the low end up to the high.
I used both these filters throughout the project to control either the low or high in certain areas. For example, building up to a main transition I wanted to take the low end out of the kick/bass/sub. So I automated the ‘cut off’ on the high pass filter. Therefore, as the cut off moves upwards it ‘cuts off’ the low end.
Vice versa - I wanted to reduce the amount of high end you hear in the Percussion. So I used the ‘low pass filter’, and brought down the ‘cut off’. Therefore, as the cut off moves down it ‘cuts off’ the high end of the perc.
Hope that helps!
James.
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Amazing, great to hear! Good luck!