- Best Garageband Songs
- Mastering A Garageband Song On Pc
- Garageband Play For Free
- How To Master A Garageband Song
- Mastering A Garageband Song On Iphone
- Mastering A Garageband Song On Computer
- Mastering A Garageband Song On Piano
Mastering music in Garageband is a fairly straightforward process. With some practice, it can be quick and easy.
When I first started out, I ran into a few problems with simple solutions that escaped me at the time, so I’ll be sharing some of those with you today.
- Mastering music in Garageband is a fairly straightforward process. With some practice, it can be quick and easy. When I first started out, I ran into a few problems with simple solutions that escaped me at the time, so I’ll be sharing some of those with you today.
- Most mixing and mastering companies don’t offer a Money Back Guarantee. It’s understandable because we don’t have control of where the song was recorded, the quality of the recording, or the expectations of the client. However, we offered a 50% money back guarantee for all first-time customers who purchase our Elite package.
Jan 08, 2009 Does garageband's mastering suck? Should i export it to a sound editor.You see i have a dj mix and it tends to have some tracks that need more compression that others. Any tips on the perfect setting for techno or house music would be great,i like how it sound in garage band buit it seems the minute i burn it to a cd or mp3 file i loose everything. Mar 31, 2018 - Exporting a GarageBand song as a stereo file - Importing a GarageBand song back in as a stereo track for mastering - Adding EQ to the master track - Using a peak limiter to increase volume and punch. Songwriting & Music Production In GarageBand- A Total Guide! This course is designed to take you on a step by step journey through the entire lifecycle of your song. We'll learn how to write, record. In section 1, we'll start by mastering the basics of the GarageBand interface and then. The Mastering stage is also the time when you do a final tidy up of the start and finish of your song: fade in, fade out, noise or hiss, which are most noticeable at beginning and end of a song, and seconds of silence at the end - if any. Check the overall level of your song against other songs on the same CD.
I’m sure there are sophisticated ways of going about this with precise and expensive plug-ins, but in today’s tutorial, we’re just going to use all of the plug-ins that come default with Garageband.
You really don’t have to get too fancy when it comes to something like this. The simplest way of doing things is usually the best.
Let’s just get right to it.
For this walk-through, I’ll use a song that I created recently that includes a lot of MIDI instruments in addition to a guitar recording.
Rather than going through a step-by-step process, I think it’d be more useful to have a beginner’s checklist at first, due to the fact we’re only doing very basic mastering.
However, afterward, I will guide you through a step-by-step tutorial.
Truthfully, if you’re reading this guide, chances are you’re not a professional mastering and recording engineer.
You may have to go somewhere else for more advanced tactics.
Moving On…
When you’re just starting out, there are just a few basic questions in need of answering.
For instance, what is compression and how do we use it? How do I adjust EQ so it actually sounds good? What’s the point of a limiter?
How do I export my music to SoundCloud and YouTube so it’s 1) actually listenable, and 2) as loud as my competition?
In fact, how do I upload my music to YouTube in general?
These are the kinds of question we want to answer at first. And this tutorial explores just a few of them.
In this guide, we’re primarily going to explore how to get a decent sounding mix uploaded to our favorite platforms and have it sound good.
The links above, however, we’ll answer some of the other questions.
Let’s start with the check-list
1) The first thing you want to consider is your VU meters on all of your track regions.
As I’ve mentioned in other articles, you want to make sure your VU meters are going into the green for the majority of the track and only the yellow during the loudest parts of the song.
Your VU meters should never be clipping, whether we’re talking about the software instrument tracks, recorded instruments, loops, or other miscellaneous recordings.
If you’ve mastered a track where the VU meters are going into the red, you’ll notice the distorted sound in the final product.
2) The next thing you want to do is ensure your master volume slider on the top right-hand side is turned down to +0.
Although, it’s not a big deal if your master volume meter is going into the red.
I’m not entirely sure why the master volume doesn’t matter so much for this phase, but either way, I’ve noticed that if it’s going into the red a little bit, it doesn’t matter, but if it’s cranked, then it does.
3) There should also be no plug-ins running on your master channel. To check this, hit ‘B’ on your keyboard to bring up your Smart Controls, and then click on the “Master” option beside where it says “Track.”
Usually, by default, the Channel EQ plug-ins will be on, but there won’t be any boosts or cuts added to it. Just turn that bad boy off.
It’s ok if your individual track regions have plug-ins running on them, in fact, you can have even more of them if you want. It’s not a big deal.
4) By hitting the ‘A’ key on your keyboard, you can bring up the Automation track to see if there are any adjustments in volume you want to make.
The Automation channel is handy for setting up a volume increase or decrease depending on where you want changes in the mix.
**However, remember that you don’t want to increase the volume to a point in your mix where it’s clipping.
This is quite the annoying problem to have, because you’ll wonder why your song is clipping at certain points but not others.
Say, for example, you want the last part of your track to hit really hard, just hit the ‘A’ key, select the Yellow line to drop Automation points, and then adjust the volume according to an incline or a decline.
It’s fairly intuitive, so you should get it right away.
Mastering, like creating music, is an art form rather than a science, so, none of the following advice is meant to be like the only way of doing it. Everyone has a different way of making music.
Personally, I like to master a song as quickly as possible. Hopefully, I can have it finished in around 15 to 20 minutes, but sometimes, it takes even longer than that.
For this tutorial, we’ll run through how to master using just a few plug-ins, notably, the compressor, the Channel EQ, the multipressor, as well as the limiter.
I actually have articles written on each of the parameters, with the exception of Channel EQ, so you can click on the appropriate links in this article if you want to read more about them.
Moving on…
How To Master Using My Step-By-Step Process
1) The first step in the mastering process is to check off all of the boxes that I outlined in my checklist above.
You’re ready to export the track as an AIFF file. An AIFF file was created specifically by Apple Computers back in the late 1980s, and it stands for an “Audio Interchange File Format.”
An AIFF file is an uncompressed file format. Therefore it’s very large and high quality compared to a regular mp3 file. An mp3 is quite small.
You can export a track in Mp3 format or a WAV if you want, but the AIFF file is going to give you the highest quality recording to work with, so I’d suggest using it.
2) Click on the “Share” button in the top of the toolbar and click on the button that says “Export To Disk.”
3) In the drop-down menu, click on the circle that says, “AIFF,” and then hit the “Export” button.
From here, I make sure I’ve exported the song to my desktop rather than in my files somewhere because I’ve noticed it kind of disappears into the wilderness otherwise.
4) At this point, I’ll normally drag and drop the AIFF file from my desktop back into Garageband beneath all of my track regions.
In other words, I like to master it first using plug-ins and what not in the original file like you can see below.
The reasoning for this is that you can easily adjust the volume of other tracks without having to repeatedly open up your original file, and then go into the AIFF mastering file over and over again.
5) Mute all of the other tracks and play the recording to see if it’s clicking at any point in the song.
6) Once you’ve ensured that it’s not clipping, you can open a new project and drag and drop your AIFF file into the Workspace.
7) At this point, I typically only use three plug-ins, the Channel EQ, the Multipressor or the Compressor, and the Limiter.
To make your mix sound good, that’s truly all you really need to maximize the volume and ensure that it sounds as good as your competition.
Best Garageband Songs
I usually go in the order of Dynamics > Effects > Limiters.
Although, sometimes I’ll start with the multipressor/compressor first, then the limiter, and then finally the EQ at the end.
***It’s worth noting that the order of your plug-ins matters quite a bit.
In this case, I used the Channel EQ first, the multipressor, and then the limiter.
Experiment with the order of the plug-ins to see what you like.
8) All of the following steps are really up to you, but for the sake of this tutorial, I’ll just assume you want to increase the volume, reduce distortion and clipping, and upload it to whatever platform of your choice.
a) Go into the Channel EQ settings, and then drop the EQ around 35 Hz by +3.0 – + 4.0 dB. Typically, we want to increase/decrease the EQ by a maximum of + 4.0dB.
I also drop the highest frequency, 20,000 Hz, at the end.
b) Then, you want to do what is called an EQ sweep. What that means, is you pull the EQ points all the way up and then literally sweep it across your screen to find where the undesirable sound is.
Once you’ve found it, you can drop back down to a small decrease of +2.0 dB or so.
c) I almost always increase the EQ from 425 Hz until 15000 kHz, but as I said above, by around +1.0- +2.0 dB. The reason why is I like to add a bit of “brightness.”
d) I’ll also increase the frequencies at 115 Hz by around 4.0dB, but then I’ll reduce the “width” of the increase.
Mastering A Garageband Song On Pc
You do that by, first, clicking the point once or twice, and then going into the Q setting and hitting your down/up arrow on your keyboard.
It’s a bit annoying at first, but you’ll eventually get on to adjusting the Q without constantly exiting out of the Channel EQ plug-in.
9) The next thing I move on to usually is the Multipressor or Compressor.
Now, the Multipressor with Garageband comes with a series of presets, rather than individually adjustable knobs, so it hardly takes any time at all.
You can experiment with the ones you want the most, but what I like to do is just slap on the Final Hip Hop Compressor.
I feel like this gives the track an added punchiness without destroying the dynamics of my song. It sounds pretty good.
You can also increase the compression of the track instead.
Compression is alright to use, but frankly, what I don’t like about it is that it tends to squeeze all the good parts of the song right out of my mix unless of course, I turn down the ratio.
In my opinion, compression is best used on individual channels, for instance, I often use it on my guitar recordings to boost the quieter sounds that didn’t shine through on account of my imperfect playing.
If you’re confused about the compressor and all of its parameters, I suggest you read my article on compression here.
10) The last parameter to adjust in the mastering process is the limiter, which I’ve also written another article about. You can access it here.
Garageband’s limiter, like the multipressor, only has a couple of different parameters. In the case of the limiter, it has the “Gain” and the “Output Level.”
Of course, the “Gain” will turn up the strength of the signal on the entire track, whereas the output level is the part of the limiter that controls just how much limiting is taking place.
It’s kind of like the compressor’s ratio option.
From what I understand, the point of distortion is usually around +0.0dB so the least amount of limiting possible is -1.0dB.
That’s literally one dB below distortion, so I don’t have to worry about over-limiting my music.
I’ll turn the gain up to around (+2.0 dB) – (+3.0 dB) and then the output level sits at (-1.0dB) or (-2.0dB).
In my experience, the limiter is more of an emergency control. It’s kind of like what I slap on at the end of the track just to ensure that no undesirable sounds are coming through my mix.
However, as I wrote about in my article on limiting, the limiter can also be used to shape dynamics, but I’ve never used it in that way, so I can’t help you there.
11) After you’ve finished mixing and mastering your song, you can just click on “Share” at the top of Garageband’s toolbar, and that will give you the option to upload it to iTunes, SoundCloud, as well as YouTube.
But let’s be honest, your mix isn’t going to be perfect on the first try. (Producers love to poke fun at this phenomenon using Instagram memes).
What I normally do at this stage is the following:
Due to the fact it usually takes a long time to upload your music to SoundCloud or YouTube, what I’ll do is I’ll quickly upload it to iTunes, and then listen to it from there, checking to see that there’s no distortion and everything sounds the way that I intended originally.
If it doesn’t sound good, then I delete the track from iTunes and do it all over again.
I think it’s important to note there are some things you want to avoid. For instance, if you don’t have enough bass, don’t bother cranking up the mids in the EQ stage just to hear more low-end.
You’re much better off to go into the original track that you made, turn up the bass, re-export it as an AIFF file back in the workspace, and then master it again.
But the good thing here is the fact you can save your original mastering file’s plug-ins settings, the EQ, Limiter, and Multipressor, and then simply drop your track back into it with the original settings and you don’t have to do everything over again.
Repeat until you’re happy with the final product.
Anyway, I hope this was really helpful for you. Make sure to share this on social media if it was, or check out the list of my favorite products to use with Garageband.
Mixing music is one of those things that are kind of elusive, because it seems like every mix is a little bit different from the other, despite the fact you may have done nearly the same thing to each song.
Some songs just end up sounding a bit different than the other and that’s part of the magic.
In this tutorial today, I’m going to show you how I learned to mix a song for a client. In the very first section, I briefly outline how the person you’re working with can send the files to you in an email.
Click the link here to skip right to the YouTube video tutorial, but keep reading for the text walk-through.
The most important thing right away to know is that the person you’re working with has to understand how to actually record music and send it across the internet.
In this article here, How To Collaborate With Other Music Producers, I’ve outlined how one can export each track on its own in ‘Solo’ mode, gather up all of the files individually, put them in a zip file, and then send them using Gmail or another emailing service.
I recommend checking out the aforementioned article if you want to learn how to do that.
Here’s How To Mix
So, you’ve opened the Zip File and loaded all of the music into your DAW.
The first thing I do is I just listen to the song as it is, without any changes to plug-ins or volume settings.
My personal choice is to get the bass-guitar/808s handled first because the low-end is perhaps the most intrusive audio frequency. You listen to music while slowly moving the volume to the point that sounds good.
Move down each software instrument track, one at a time, perhaps moving to the drums, guitars, and then the vocals in that order. Once the volume is set to the point you want, you can start adding the plug-ins and EQ to clean things up.
At this stage, it’s really up to you to mix the volume of the instrument tracks to your liking. No one can show you the actual steps for lowering and increasing the volumes, because it’s up to you to figure out what you think sounds good.
Background Vocals
For the background vocals, I dropped the dB to around -2.3dB, then I added a Noise Gate,Channel EQ, and a bit of Stereo Delay.
Noise Gate
One has to be careful with a noise gate because you can end up eliminating desirable transients.
A transient is a short-lived part of the audio signal that often gives body and character to a sound. In many cases, they’re intrusive and should be eliminated, but sometimes they’re part of what makes it sound good.
It’s one of the reasons why I typically don’t add a noise gate to the guitar instruments, especially in the case of punk rock, because the “messiness” of guitar tone is part of what makes it punk.
However, Noise Gating is a very common practice among metal guitar players and others.
I set the Noise Gate to the Background Vocals to -35dB. This eliminates any undesirable sounds, without pulling the life out of the track.
Channel EQ
For the channel EQ, I cleaned up the vocals by using a Garageband pre-set titled, “Soften Background Vocals.”
Many of the presets that one has access to are actually pretty good, especially in the case of Garageband and Logic Pro X.
When dealing with male vocals, a common practice among mixers, from what I understand, is to jack up the frequencies between 5000kHz and 20,000kHz and then decrease the low frequencies. It really depends on the person’s voice.
A man’s voice typically has more low-end, which is one of the reasons why you boost the higher frequencies and decrease the lower ones. For female vocals, I imagine it’s probably the opposite, although I could be wrong.
Stereo Delay
The Stereo Delay, I used very minimally, because only minor adjustments are necessary to dramatically change the sound for the better. In the image you can see below, I used the 1/4 Delay setting, and then I set the ‘left mix’ and ‘right mix’ to 30% equally.
The added delay has the effect of making the vocals less dry.
I also set the Ambience and Reverb to around half-way, which is plenty of reverb.
It’s important not to use too much reverb on your instrument tracks because then everything will sound “washed-out,” or in other words, way too many effects to the point of distraction or saturation.
Bass
Channel EQ and Noise Gate
The next instrument I mixed was the bass guitar, which I set around -12.0dB in total volume, along with a channel EQ.
I set the Noise Gate to around -30dB.
In this particular song, I used the “E-Bass EQ,” which increases the frequencies pretty much right across the broad, with an added EQ boost to the area between 900 and 1000kHz.
The bass is an instrument that a lot of people like to mix way down for whatever reason.
I find the bass sounds the best when you can actually hear it in the mix, but in popular music, it seems like it’s pretty much almost always super quiet, with the exception of hip-hop which emphasizes the bass frequencies.
Drums
Channel EQ
When I mixed the drums, I ended up using the preset, “Refresh Drums.” You can see what this pre-set looks below.
Initially, I had a compressor on the drums, because I was trying to equalize all of the sounds of the kit, however, the client used a drummer track, so that means all of the instruments are together.
When I loaded it into Garageband again to do the final mixing, I noticed that there was too much compression on the track and sounded like the audio waves was hitting the ceiling, so to speak.
For that reason, I had to go back and turn the compressor right off.
When it comes to mixing a drummer track, there really isn’t that much that can be done to it, because in an actual studio, from what I understand, there would be individual microphones on each part of the kit, and then you can mix it all together afterward.
This isn’t possible when using an automation drummer, because the kit comes together as one sound.
There isn’t much you can do with the mix, other than use a little compression and a bit of EQ and that’s it. Perhaps, a noise gate, but it’s not really needed either, considering it’s an automation drummer and it’s not recorded for real.
Guitar Solo
For the guitar solo, I had to use a compressor as well as an EQ, and I found that using the compressor really brought the guitar into the track. In the image you can see below, I adjusted the compressor’s settings to:
Threshold: -14.5dB
Ratio: 2:1:1
Attack: 23.0ms
Gain: +1.0dB.
Channel EQ
For the Channel EQ, I used the pre-set, “Picked Electric,” which you can see what that looks like in the image below:
The “Picked Electric Guitar” preset works well because it eliminates lower-mid frequencies, to avoid any potential muddiness, and increases the higher frequencies to make the guitar sound more “crunchy” and “biting,” so to speak.
There are always a ton of mid-range and low-mid frequencies in music, so it’s important to pay close attention to them because it’s very easy to have too many of them; then the music doesn’t sound great.
The volume is set at +1.5dB.
It was a bit of a challenge to have the vocals and the guitar solo play at the same time, which it does in the song.
Both the solo and the vocals are competing for the same frequency, so I found that balancing the two was a bit challenging.
However, the “Picked Electric Guitar” setting, I think played a nice role in balancing the two sounds out so it sounded good.
Main Left and Right Guitar
For the two guitars, I panned one of them to the left and the other one to the right, which is a common tactic for mixing guitars. There’s a noise gate set up on each one of -50dB, as well as the “Clean Up Guitar” preset for the EQ.
The style of the song is punk-rock, so the guitar tone is incredibly important. Most punk rock songs have the biting “crunchy” guitar tone, whose frequencies typically lie between 500hZ and 2000kHz.
I’ll also eliminate the sub frequencies within the guitar tracks so as to create room for the bass guitar.
Main Vocals
To the client, the main vocals are pretty much always the most important thing because of the way that popular music emphasizes singing so much over the other instruments.
Initially, I used Stereo Delay on the vocals, reverb, ambient, and I had them turned down a bit so that the vocals would sit nicely in the mix, however, the client wanted them turned up.
I had to go back and change them because they didn’t like it, although, in my opinion, the first mix was far superior to the second one.
Franky, that’s how this goes. At the end of the day, the client is paying you to do work for them, not the other way around.
Truthfully, if they tell you to do something, then you just have to swallow your pride and do it, even if you know your way sounds way better.
Otherwise, if you get your way, there’s a good chance they won’t be happy with it and will harbor some kind of resentment, and no longer want to work with you anymore.
While this may not be the option with the most integrity, it’s kind of what you have to do to continue working.
Compression on Vocals
For the vocals, I used the Studio Vocal preset, whose parameters you can see in the image below.
I have the noise gate set to -32dB, the Channel EQ set to “Vocal Refresh,” and then the reverb and the ambient settings at the dial, 4.
This particular track, I had to be careful with, because the vocal performance was slightly out of tune at times, so when you use pitch-correction, it ends up making that “robot” sound, as people like to call it.
Truthfully, people believe that Autotune is some kind of magic software that fixes terrible vocals and makes them amazing, but from what I understand, that’s not how they really work.
Pitch-correction/Autotune only make good vocals sound better.
If the vocal performance isn’t great, then no amount of pitch-correction is going to fix them.
Pitch Correction
As I mentioned above, from what I’ve learned so far about music production, especially vocals, autotune is really a tool that only improves an already good performance.
In all probability, Ariana Grande is an extremely good singer, it’s not all just some studio tactic that makes her sound the way she does.
The same thing can be said for clients you work with.
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Pitch Correction software will make minor adjustments that make them sound just a little better; they won’t be the thing that makes or breaks your vocal tracks, unlike what a lot of people on the internet tell you.
With that said, there is a possibility that software does exist where it can turn a terrible vocalist into Ariana Grande, although, I don’t know what it is or whether it exists.
The pitch correction software in Garageband is pretty basic; it just has the check-box to turn it on and off, as well as the slider bar where you can turn it up from 0 to 100.
What you can also do to correct imperfections in the vocal track is to zoom in to the highest degree of the vocal track, and then select and delete whatever sound is ruining the mix.
For instance, from what I’ve been told, deleting the inhales before a person starts singing is something you can do with this tactic.
Another way to do this is to use a noise gate, but with the noise gate, there is a risk that you’ll eliminate desired frequencies and sounds.
What I did for this particular track, is I turned the pitch correction to around 67, because anything above that was creating the “robot” effect as people on the internet call it.
It’s a lot more common for me to turn the pitch correction up to 75-77, but this wasn’t the case in this particular track.
Moreover, you have to know the key signature of the song, which you then select in the top-center of Garageband’s interface.
The song was in Bb Major, which, I believe, is a relatively common key signature for a popular music song to be in.
If the client doesn’t know what key the song is in, it’s as simple as grabbing your guitar or piano, finding a note that matches the song, and then play the notes of the major scale up from that note.
Vocal EQ
For the vocal EQ, I used the preset, “Male Vocal Refresh,” which essentially, does the most common thing that’s done to male vocals, drop out the frequencies below 100Hz and then add a boost to frequencies between 1000kHz to 20,000kHz.
Garageband Play For Free
If you google how to EQ vocals, you’ll likely get many other blog posts which describe the same tactic for male vocals.
Now that we’ve done the bulk of the mixing, it’s time to move on to the final stage of the process.
Mastering
I’ve written an entire article about this process, so won’t be as thorough during this part. You can click this link here to read that article.
Before getting into this final step, ensure that you don’t have any plug-ins running on your music’s master channel. It’s ok to have plug-ins running on all of the software instrument tracks, but not the main master channel.
Once you’re at this stage, you can export the song using the Share button, and choose Export to Disk, then the AIFF option, which is a high-quality lossless file format.
After you’ve exported the song to your desktop, drag and drop the song back into a new file in Garageband, and you can begin making the final tweaks.
How To Master A Garageband Song
When I’m in the final stage of the mixing process, I’ll typically add three plug-ins on top of it, Compression, Channel EQ, as well as the Limiter.
For Compression, I’ll use the “Platinum Analog Tape” preset. It’s parameters look like what you can see below.
However, I did make minor adjustments to the compressor, including decreasing the threshold as well as decreasing the ratio.
If you want to read more about the compressor, I suggest you check out this article here. In layman’s terms, the ratio is how hard the compressor is working, and the threshold is at which point the compressor kicks in.
Channel EQ
For the Channel EQ, I scooped out the sub-frequencies between 20Hz and 40Hz, and then I also scooped the frequencies between 10,000kHz and 20,000 kHz.
Mastering A Garageband Song On Iphone
I also subtracted the EQ by -2.0dB at 417 Hz as well as 1160kHz. That’s all one really has to when it comes to the final stage of EQ. As a general rule, less is more when it comes to EQ.
You don’t have to spend a ton of time subtracting and adding EQ all over the place, and if you feel this is necessary, it’s probably because there’s something up with your original mix.
For instance, if there is too much low-end in your mix, don’t bother trying to fix this in the mastering stage.
Go back to the original mix and decrease the volume of whatever instrument is causing too much low-end, whether it be the bass guitar, the boutique 808s, or the kick drum. You can read more about using Channel EQ in this article here.
Limiter
The stock limiter in Garageband really only has two parameters, the output level, and the gain, so making adjustments to it is very straightforward and easy.
What I usually do, is I increase the gain by a small amount, around +2.0dB and then I set the output level to -0.1dB or -0.2dB.
The limiter acts as a ceiling, so it will stop any undesired frequencies past a certain point.
From what I understand, 0dB is the point of distortion, so setting it at -0.1dB and the gain at +2.0dB will be enough limiting.
Remember, a limiter is essentially a compressor with the ratio turned super high. If you want to read more about the limiter, I suggest you read this article here.
Other Important Things To Remember
- Regarding the master volume on the final track, I’ll increase it by +2.0dB and that’s it. Any more than that, and it’s starting to get too loud in my opinion.
- Also, make sure you’ve turned off the Auto-Normalize function in Garageband’s Preferences within the Advanced Settings tab. This is the reason why many people’s exported tracks are far too quiet and they can’t figure out the reason.
- When I export the original mix as an AIFF file, I’ll have the Master Volume set at +0.0dB. I’ve never heard anyone else ever mention this, but I find that if I export the original mix say, by +4.0dB, the track ends up being distorted in the final mastering stage.
Mastering A Garageband Song On Computer
YouTube Video
Conclusion
Mastering A Garageband Song On Piano
I hope this was helpful to you. I’d appreciate it if you shared it on social media.