Record Music At Home Free

In this post we'll go through the step-by-step process of recording your own music like a professional.

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The microphone might be the most vital component of your home studio because the whole point of the studio is to record audio. That said, when you're shopping on the lower end you can actually get. Professional Music Recording Programs NCH Software has developed a number of professional music recording software for Windows or Mac available for free to download. Each program is specifically designed for particular recording tasks including general audio recording, music mixing, editing and more. Collaborate with our music recording studio, no matter where you live. Send your rough recordings or lyrics to Demo My Song and we'll produce a new track for you. We handle every aspect of music production including hiring all the musicians and singers. ACID Music Studio. 3.6 on 115 votes. ACID Music Studio displays a graphic interface similar to a. Here's what you're going to need to record your first song: A Digital Audio Workstation (or DAW). This is a piece of software that you can use to record, edit and mix your audio. If you happen to have an Apple computer, it already comes with GarageBand, and despite being free, it's a great piece of software.

Whether you're an aspiring singer-songwriter, producer, or even an amateur, by following these simple steps that I provide, you will have recorded your very first song on your own! Whether at home, or even in your bedroom.

Let's begin… 🙂

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Options

There are two ways you can go about recording your own music. Each way will be based on who you are and what you are trying to accomplish.

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EASY WAY → Recording your music online for free

There are actually online software that you can use for free to make simple recordings. The benefits of this is that you don't need to have a whole recording setup — the online software is easy to use, as it's designed for beginners.

However, this option is only best for young students who are interested in learning the basics of music production and recording, and just want to have fun.

Therefore, it's not the 'professional option,' but it's mentioned anyway in case you're interested

What you need…

If you plan on going this route, you will need to have a laptop, a get a USB microphone, and get either monitor speakers or headphones to get the best results.

BEST WAY → Recording your music from your home studio

You're probably not going to want the limitations of online software, and rather at least make good quality demos or singles in your home or bedroom.

This method would require some investment in time and money on your part — but it will put you more in the 'driver's seat' of your own creative process. You won't have the nightmare scenario of label execs or production company managers and engineers dictating to you how to record your own music.

Luckily, a home recording studio setup is not difficult to put together. And you don't need to be a pro to start. You can get quality recordings from just a few gear and software, and you're on track to creating your own music.

What you will need:

1. A capable laptop or computer
2. A pair of studio monitors or headphones
3. An audio interface

Recording setup

This will vary depending on what sort of recordings you're making, but the principle remains the same.

Once you have an audio interface, you'll need to plug your microphone(s) and instrument via appropriate cables (if you're using any) into you audio interface, then plug your interface into your laptop via USB or Thunderbolt (for MacBook). Then you will be outputting your audio signal (so you can hear and monitor your recordings) via studio monitor speakers or headphones.

Depending on how many instruments or microphones you're recording will be based upon your audio interface type, so make sure you get the right one. Follow this guide to see how.

Gain staging

You'll see this in pro audio discussion a lot. This simply means making sure that your microphones and instruments don't 'peak' at or over 0dB in your DAW. If it does, turn down the gain so that at its loudest the audio signal is between -12 dB to -6 dB. This way, you have enough 'headroom' to play with.

Read more how gain staging works and how to apply it.

Choose Your Song Recording Method – The building blocks

Now that you have the right gear for recording music, and the right setup, we can get into how to record your own music.

Being that you've already written and composed your song, or you at least have an idea of what you're going to play or jam out, there are a couple of methods you can take to start recording your own songs…

1. Live performance takes
2. Multi-track takes

Live Performance Takes

This method can be most suitable for singer-songwriters who like to record while performing on an instrument. It's best with a setup that doesn't require a large number of instruments, such as in a band. Two or three instruments/people being recorded together should be fine. If you're recording more instruments all together, the help of a hardware mixer would be of benefit to you. You can take a look at USB mixers as a simple solution.

Just as the name suggests, you simple perform your music all the way through, or in chunks (verse, chorus, bridge, etc.) It's advised to take multiple 'takes' — meaning, record multiple times, and in various sections — of your songs.

#Tip

Get used to playing with what's called a 'click-track' (also called metronome). This will help you out in recording.

As you record just, turn on the metronome in you DAW so that it plays through your headphones as you perform. This will make the editing process easier and simpler.

Note: You can ignore this tip if your music's style changes a lot in tempo, such as in classical music and some folk styles of music.

Multitrack Recording

This is a far more common approach. It gives you more editing power in your studio, and the ability to do more with your recordings.

But there is another benefit…

Whereas the live performance recording method is more suitable for intimate recordings, this one is best for recording a larger number of instruments at the same time.

You don't need your whole band to be together — it can get complicated, especially in some home studio setups, to record up to 12 microphone and instrument tracks at the same time.

So in a multitrack recording, you can record the drum and bass in one instance. Then record the singer over the beat another day. Then another time bring a keyboardist, and so on.

Now let's get into the recording process.

The Recording Process – How to record your music

Whichever method you chose, there is a typical process that you need to follow when it comes to recording and producing your own music.

1. Make a 'pilot' recording
2. Record draft lead vocals (if needed)
3. Add the 'rhythm section'
4. Record the harmonies
5. Re-record lead vocals (if needed)
6. Add some 'sweetening'

1 – Make a 'pilot' recording

What this simply means is to create a track that all the other musicians will be able to follow.

Usually, pilot recordings consists of drum and bass only. Although, it could start with any other 'rhythm' instrument, like guitar, keys, or even percussion.

The idea is to get something simple and basic down to establish the groove, rhythm, tempo, and flow. Hence, 'pilot,' as it is literally directing the rest of the recording.

A good tip to practice is to record this initial pilot with a 'click-track,' otherwise called a metronome. This way the engineer or you can make seamless edits and adjustments as we move into further stages.

2 – Recording draft lead vocals

This is necessary, of course, only if you plan on recording a singer. If it is an instrumental, you an skip to the next step. Also, this step can be substituted for recording a lead instrumentalist on a track.

The draft vocals is necessary to help the other instrumentalists know how to accompany the lead singer. Otherwise, you may end up in a nasty situation where keyboard, guitar, etc., players sound as if they are competing with the singer for musical space.

Yikes!

BTW, some people like to include the vocals while they are recording the pilot. So step 1 and 2 can be combined if that suits you. Just make sure they are recorded onto separate tracks.

Also remember, whereas you can record the pilot before the vocals, or even with the vocals, stay away from recording the vocals before the pilot instrumental. Vocalists are notorious for inconsistent tempo changes — they need something like a beat to keep them in check. Singing to a 'click-track' is unnatural and wouldn't be much help.

3 – Rhythm section

Now we can add the rhythm section.

Anything that plays 'rhythmically' would be called a rhythm instrument. So piano or keyboard instruments vamping, comping, or grooving to the drum and bass, as well guitar chops and riffs — these are all part of the rhythm section.

Percussion, if they are a major feature for your track, are also part of your rhythm section.

4 – Harmonies

Simply, harmonies will just play your chord progressions and are not designed to stand out too much.

Harmonies are anything like synth pads, organs, or strings. They make up the 'meat,' or the fodder of your song. They fill in the necessary spaces and add body to your song.

5 – Re-record vocals

Once you're done with the first 4 steps, you can now re-record the lead vocals. The first recording was simply a rough draft where everyone was able to follow. The song is almost done now, and would certainly have a different, or more potent, vibrant energy at this point. You'll be surprised at how this affects the actual vocal performance…

At this point you can also have fun doing things like vocal doubling, or tripling, where the vocalist harmonies with him or herself. This is especially effective during the chorus or hooks, anywhere in the song that needs to be 'bigger' or more emphasized.

Read: How to Get Amazing Vocals

6 – 'Sweetening'

This is anything like melodic lines, guitar or synth leads, backup vocals, sound effects, additional percussion. They are the little sprinkles you add to your song that make them interesting in some way.

It's also an optional step, but a favorite among anyone recording their own songs. At this point, there are no rules, just have fun and do what feels and sounds good.

Just keep in mind, don't over do it, and in this case, less is more.

If you feel you need any help at this point, you can always get some guidance from online courses from experts.

Now that we've created your recording, there are 2 or 3 more steps we need to take care of to get them sounding really good. These steps are 'editing,' 'mixing,' and the optional 'mastering.'

How to Edit Your Recordings – Pruning your soundgarden

Think of it like gardening, whereas the recording process was planting your seeds and watering them, allowing the song to grow from a simple idea to a recording, the editing process is pruning your musical garden so that everything looks, or rather sounds, nice and neat. As well as removing any weeds that happens to be in there.

The editing process consists of 5 essential steps. These are:

1. Song Arranging
2. Comping takes
3. Gating & noise-reduction
4. Timing & groove correction
5. Pitch processing & correction

Don't be intimidated by the unfamiliar words you see. Very shortly, you'll know what we're talking about…

1 – Arranging

You've probably made several takes or recordings of different tracks. At this point, you get to decide how everything comes together.

Sometimes, you may need to shorten the introduction, or even extend it by looping it. You may need to repeat certain sections. You may need to delete or mute section where an instrument was playing, or copy that section over to somewhere it sounds more suitable.

This is part of the creative process, part of the reason why I said recording (at least the pilot) using the click-track is important. Now, you get the chance to move things around seamlessly, even change the song structure entirely.

2 – Comping

This refers particularly to the takes you've been recording. Sometimes a portion of one take will sound good, and the portion of another take will sound good. Maybe the rhythm guitarist played a nice groove in different places in different recordings and you want to capture them. This is where you can load up in your DAW, the different sound files and see which ones you want to choose over the other.

3 – Gating and Noise-reduction

While you were recording, there were bound to be some external sounds coming into your song. Maybe the breath of the singer, a hum or pluck from the guitar between chops or solos. Listen to your tracks. Where there is supposed to be silence, if any other sound not part of the music is in the recording, you can either cut it out and delete, or you can apply a gate plugin to attenuate the track to silence as soon as it the audio file falls below a certain threshold.

When it comes to vocals, a very good plugin to use is the de-esser plugin, which acts like a multi-band compressor that attenuates the harsh 'ssss' sounds in a vocalist's recording.

Your DAW may already come with one, but if you don't find it or it's not suitable, you may take a look at some of these more professional alternatives.

Similarly, there are other noise reduction plugins that can be used to get rid of that unwanted noise easily and effectively.

4 – Timing & Groove

So you have your perfect arrangement, and the right comps for each track. You've also gotten rid all the unpleasant noises, and there is no external sounds bleeding through. Now, you can start looking into any timing issues.

At this point, take a break. Give it a day, if you can. Yes, you've been at it for a while…

Now, come back with fresh ears. Listen to see if there are any timing issues. Did the vocalist start too early? Late? How about the keys, guitars? At this point, you can zoom in, simply grab and drag your sound files around until they fall into perfect alignment. There are also plugins that can help with this, and more than likely your DAW will come with something like a groove assistant to help keep the transients of your songs in perfect timing.

5 – Pitch Processing and Correcting

A few singers don't like this, while others can't live without it. But it is very essential to your editing process.

Pitch correcting and process are two different things.

Pitch correcting simply means listening to see if a pitch in the vocals or instruments are not playing the right notes. Fixing it can be as simple as zooming in on the place where that note is played itself, right-clicking, and shifting the pitch up or down a certain amount of semitones.

Pitch processing comes in when you need make voice or instrument play in tune more accurately. This doesn't imply an 'autotune' sound. The 'auto-tune' sound is, believe it or not, a desired effect produced by the engineer. You can get your vocals sounding in tune without sounding like a robot.

Once you've edited, pruned, and cleaned up your song's tracks. We now need to do some basic mixing.

Some of you, at this point, may feel that taking a course on the subject online would help. That's totally fine. Simply bookmark this page and come back to it to complete you project.

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Mixing down your music – Balancing everything together

These mixing techniques are actually not very difficult. Some basic understanding of them will take you a long way.

I've broken it down to 6 steps:

1. Organizing your channels
2. Balancing & panning
3. Compression
4. Equalization
5. Effects
6. Automation

All of this can be achieved using the plugins that came with your digital audio workstation. Let's dig in…

1 – Organizing your channels

We'll start with the easiest. You want to be able to organize your channels so that you can find things better.

This is how I like to organize my channels for a simple project:

Drums Buss | Bass | Instruments | Vocals | Mix Buss Drums

Self-explanatory, your drums channel group includes all your drum tracks (overhead, kick, snare, hi-hat), including your drums buss.

A drums buss is a channel that groups all your buss together. Simply create a new buss channel, label it, and send all your buss channels to it.

Many DAWs offer color organization.

Read: How To Mix Drums.

Bass

The bass channel is usually just one track.

Read: Bass Compression Tips

Instruments

The instruments channel include all the other instruments, like piano, guitars, organs, synths, etc.

It's also a good idea that if you have different tracks of the same type of instruments, like guitars, then create a guitar buss, keyboard buss, etc., and send all the keys and guitars to their respected busses.

Once you've done that, create an instruments master buss and send all the instrument busses to this one buss.

Vocals

This can consist of main vocal track, plus doubling track if you used any. I like to color this in shades of yellow.

Again, you can also buss this into one vocal buss if you used many vocal tracks.

Read: Mixing Vocals Tips

Mix Buss

Finally, send all the channels or buss to the mix buss.

Now that you have organized your mixer we can do some… mixing!

2 – Balancing & panning faders

This is to make sure that things are not too loud or too soft. Maybe the vocals need to be more upfront — you can turn down all the instruments instead. Simply use your ears to guide you.

You can pan sounds, like guitars or keys to the left of the right. This will add stereo width as well.

It's a good idea also to get another song in your session to reference to see how well your mixing is in terms of balance. Don't be bothered too much about whether or not it is loud enough, we'll get to that shortly.

3 – Compression

Sometimes, no matter how much you turn up a track, it's simply not loud enough. Compression is a great technique where the dynamic range of your audio signal is 'compressed' so that softer sounds are made louder. With a little compression on a channel, buss, or mixing buss, you raise the 'presence' of quiet tracks without pushing your volume into the red.

Read: Guide to Compression

4 – Equalization and filtering

You use this to cut out, as well as enhance, each instrument's unique frequency signature so that each instrument is heard clearly.

For instance, the vocals are a mid-high frequency sound. So you want to cut out any low rumbles that the microphone might pick up.

The guitars are generally higher frequency sound as well, so you want to cut out any low end from them either. Doing this allows the kick and the bass to come through and not compete for space.

When it comes to finalizing your EQs, on the Mix Buss, temporarily twitch it to 'mono.' This will add some clarity in now to boost or attenuate some instrument or vocal frequencies to allow each track to sit well in the mix. It's not that difficult to hear, because you can 'tell' when things don't sound good on a good pair of monitors.

5 – Effects

The two most common effects used are reverb and delays.

Reverb adds 'space' to a mix. On vocals, they make them sound less 'dry.' A little reverb can make a singer sound like she was recorded in a great hall.

Delay adds echo. This is used similarly to reverb to add space. Other times, a little bit of a 1/4 note or 1/8 note delay sounds cool on things like guitars or keys.

6 – Automation

This is not anything you do to your music itself, but rather a way of making things easier for you. There are times you may want to increase reverb, take away delay, increase volume of a track, and so on, as the mix plays. With automation, you can draw lines in your track telling your DAW to perform these functions for you automatically.

Now that we've taken care of the mixing portion of your music, you may have noticed that it sounds 'quiet' in comparison to other recordings. There's a way to fix that, it's called 'Mastering.'

Mastering Your Music – Make it LOUD

The topic of mastering is a fairly complex one. Some people think you shouldn't master any music until you've studied it like one would study the dark arts of alchemy for 15 years with a hobbit wizard in an eastern European cave.

Truthfully, mastering is really simple, especially if you're just trying to make things LOUDER. Here are a few techniques that I like to use for some basic mastering:

1. Compression
2. Multi-band compression
3. Stereo widening
4. Analog saturation
5. Limiting

Sure, if you want Grammy level songs, it might be better to outsource this job to a qualified mastering engineer.

But if you're simply wanting to get your songs out there, getting a good pair of studio monitors, and a little know-how will be just enough. And if your songs ever get super popular, there's always 're-mastering,' for industry level commercial release.

What I'm going to talk about is the basics.

Preparatory steps:

a. First, by this point you should 'bounce' down all your tracks to a single stereo track after mixing. Make sure you left enough headroom in the main channel. You're final mix should be peaking no higher than -3dB. This allows you some room to adjust dynamics.

b. Start a new project or session and import that stereo track to it. Also find a commercially released track similar to yours, in the same or similar genre, to reference.

c. Use a free metering plugin by T-Racks to monitor the loudness of your mix as you begin to work. Some DAWs come with a similar plugin, but if you can't find it, download it from this link.

1 – Maximizing loudness with compression

Once your stereo track is loaded in a new project, place a compressor on the master. This compresses the dynamic range so that the average loudness remains as loud as possible.

2 – Balancing frequencies

Use a multi-band compressor to isolate certain frequencies so that they remain within a certain dynamic range. Listen to your song over and over again. Listen where the bass, mids, trebles seem inconsistent.

Isolating these frequencies, compressing them, then attenuating or adding more gain, gives you the ability to provide a more consistent loudness level throughout your song.

3 – Stereo Widening

By using a special plugin, you can make the higher frequencies wider, which adds a sense of space and width, as well as the impression of 'size' to your music. This gives your music the impression of loudness.

4 – Analog saturation

Just a little analog saturation will add a little color to your mix, and thereby make it a little more exciting. Even though it doesn't make it louder, it has the impression of making your music sound louder.

Analog saturation simply refers to that 'fuzz' that you get from playing music through an analog devise. Everything is often clean and clinic in the digital world — depending on the nature of your song, a little character will go a long way.

Read: Best Tape Saturation Plugins

5 – Limiting

Finally, adding some moderate limiting will make sure you can bring your track to as close to 0 dB as possible without running the risk of clipping.

While practically any limiter plugin would work, you'll want something that's as transparent as possible.

Read: applying the right limiter settings to a song to get it to right loudness level.

Also: Best Mastering Plugins

Congrats! – You've recorded your own song like a pro

Great, you've made it! It may have taken some time, but to the few of you who have taken the journey, I have to say I am proud of you! You've recorded your own music, like a pro. And you're set for recording many and many more songs from now on.

And guess what? It will only get better with time.

One More Thing – Want to make some money?

Read: How to Make Money from Music Online

Recording the perfect vocal is not a perfect science. It can be extremely subjective and often depends on the sound you're looking for on your track. It can also be far more difficult than you might expect when you haven't done it before, so read on to learn more about the basics of recording vocals at home from experienced producer Rich Lewis.

The kind of vocal sound you're looking for can alter the recording and mixing process hugely.

If you're recording a solo voice that accompanies an acoustic guitar or a full on, balls to the wall indie rock song, or even a choir, you'll have to alter your approach to mic placement, recording chain, processing chains and the mic you use – to name just a few of the variables.

This guide is for beginners, so I'll keep it fairly simple and stick to the basic tips for musicians on a budget. That way hopefully you'll get the fundamentals right and learn from some of my usual practices. So with that in mind, let's crack on!

Recording Vocals at Home: The Basics

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Choose the right microphone

There's a whole world of different microphones out there, from USB mics, condensers, dynamics & ribbons all ranging from the very cheap to the ridiculously expensive.

So, which one should you use? Well, that depends. Different mics work better in different situations and on different voices.

With vocals, you might find that a £200 mic suits the voice your recording better than a £3,000 one, so try not to get too carried away with expensive gear. Just because you're using a more expensive mic doesn't necessarily mean you'll get a better end result.

When recording a lead vocal, I always go for a large diaphragm condenser microphone as they tend to be clearer and more sensitive than dynamic mics. They're perfect for capturing the detail and nuances that make a vocal unique, and that's what makes a vocal recording great. Not to say dynamic mics can't work with vocals, but generally they're used in live situations because they're generally a little more robust.

There's so many on the market within the £200 to £500 range that are amazing quality, so you don't necessarily have to break the bank. I've found that an SE Electronics Gemini 5, which is around £500 sounds best on my voice. Before that I used the Rode NT1 which was less than £200.

How To Record Music At Home

Large diaphragm condenser mics are perfect for capturing vocals

Position the microphone

I've tried so many different places to position the mic in my career. Fifteen feet away, out in the hallway, 2 inches away with a towel draped over my head; but I'd say anywhere between 6 and 10 inches away is a good place to start.

It's not too far that you'll pick up room reflections than you can't control, depending on how lively your room is. But it's also not too close that you'll end up getting a bass proximity effect that sounds like you're doing a voice over for a Hollywood trailer. Unless of course you want either of those things…

Create the ideal recording environment

Most people don't have an acoustically treated, soundproofed room or vocal booth at home, so room reflections can sometimes be a bit of an issue.

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However, as long as the room you're recording in isn't covered with giant mirrors or windows, and doesn't have ceramic tiled floors, then you should be able to find a spot in the room that works, but do try out a few different positions. Oh, and also make sure your washing machine isn't switched on!

You'll also need a Pop Shield to stop your ‘Ps' and ‘Fs' from muffling your recording. They're not particularly expensive, but if you don't have one, then try a pair of tights stretched over a coat hanger, that's what I used to do!

Pop shields are cheap, easy to use, and essential for recording vocals

Mic gain and front end processing

A lot of people still like to record at very high levels (-3 to 0 DB) but you don't need to do this anymore as even a fairly low input level (-15 or -20DB) will come through with little noise now that everything is digital. I like to go between –15 to –7 DB as it's a nice middle ground.

If your singing volumes don't differ too much, then once you've set it to one level where the loudest part isn't distorting, then all should be fine. Unless you're singing a really soft, delicate verse and then a loud shouty chorus you shouldn't need to change your gain level for different sections.

A lot of engineers use Pre-amps, compression and EQ when recording into their DAW (Digital Audio Workstation). These can be hardware or software, though don't go over the top with any compression on the way in, as you won't be able to undo it later on when mixing.

I usually have no more than a gain reduction of 3 - 4 DB and with a fairly slow attack and release which will give a nice smooth transparent sound to it. With the EQ, I'd recommend you just take out the very low end to clear any muddiness up and have a play with making small tweaks to improve your tone. Again, don't go over the top as you won't be able to undo it once it's been recorded.

Don't add too many effects before recording, as you won't be able to undo them

Use double tracking and backing vocals

Double, triple or quadruple tracking your vocal parts is one way of thickening and widening them up and helps them stand out in your mix.

You should be picky about where you do this though. If you do it the whole way through your song, then it'll have less impact than if you do it in only particular parts of the song.

Often, chorus sections are a good place to use this technique, and by panning the extra tracks left and right you can create a nice wide vocal effect.

Also, try double tracking your backing vocals as it will give them a ‘chorus/modulation' type effect. Cutting away some of the high frequencies will help them sit further back from the main vocal and create a sense of depth to your mix.

Make sure the timing of the singing is consistent when double tracking otherwise it will sound very messy. When making a stripped back arrangement, double tracking might not work well, so be wary of what sort of vocal sound you're trying to accomplish.

Double track your vocals on the chorus for a bigger impact

The mix processing chain

Although it isn't part of the recording process, it's important to mention that the recording process alone won't give you the finished article.

Once you've compiled all of your takes in your amazing sounding dry vocal, there are several things to consider when it comes to processing.

EQ

I use two EQs. One to clean up any frequencies that are bugging me, take out any low-end rumbles or high end hiss that were missed in the recording stage. The other is to give some nice character and tone – maybe an analogue emulation plugin.

Compression

Use compression to level off any transient peaks and also bring up any breaths and nuances you want to hear. The bigger your arrangement is, the more you'll probably want to use compression, is as it will be fighting against a lot of other frequencies. Also, try using volume automation as this is a common way to make sure the vocal level is more consistent throughout.

Distortion/warmth

I find that even a touch of analogue or tape distortion can make vocals pop out in your mix and make the general sound a lot better. Play around with it to find a great sound, from a hint of tube warmth, all the way to full-on cabinet distortion for crunchy effects.

Reverb/delay

Use this to add depth and width to your mix, but remember, it's easy to get carried away in the moment especially as it seems to add 'talent' to your performance – so be careful.

My advice would be to make it sound good to your ears, then back it off a touch. This always seems to work for me. I also tend to use two types of reverb and/or delay. A little bit of room reverb to soften the edges and another bigger delay or reverb for nice depth effects.

I could talk all day about the processing chain, but the 4 points above are generally what I do on every vocal mix in some way or another.

Final thought: Remember, when it comes to recording vocals, there's no absolute right or wrong, just general guidelines. Always test different techniques and find what works for you, your equipment and your recording space.

This is a guest blog by Rich Lewis, a partner at Track Spark with 13 years of professional experience in broadcast composition, production and sound design. He's composed extensively for BBC, Boomerang, Cartoon Network, Disney, and Warner Brothers among others and for brands such as Sony, Orange, Honda, Virgin Media, Nissan and Levi's.

Do you have any questions or advice around recording vocals at home or in the studio? Let us know in the comments below and don't forget to share these tips.