Behringer Wing Wing 202 - EQ Tutorial

hey guys it's drew brashler with dbb audio i'm here with the behringer wing today and i am going to be going over the eq section this video 202 in my 200 series moving on from the 100 series and going all the way up to 300 series on the behringer wing so if you haven't started at the very beginning let's just go and check out all the videos at the beginning as they go hand in hand all the way up through but today we're going to be diving in on the eq section on the behringer wing let's go ahead and dive in so you can get to the eq section a number of different ways if we currently have view selected on the faders we can just simply tap on the eq section that you want to adjust you can also press select on one of the channels home and then you can tap in on the eq section right here now there's multiple portions of the eq section and they are in a couple different places here on this screen we have an on and off for the eq section so you can model what it sounds like with the eq on and as well with the eq off now this is a six band fully parametric eq and we have the first which is a low and the high and both of those are shelf eqs so being that when we boost this everything below the point is going to be boosted by the same amount whereas one two three and four are going to be bell shaped curves we can change the bandwidth of the eq selection by adjusting the q knob as well as sweeping the frequencies from 20 kilohertz all the way down to 20 hertz so you have a lot of adjustability here you can also use the touchscreen for quickly adjusting eq sections to your taste one of my favorite selections is the band solo and i will show that to you a little bit later in the video moving on from here we can go into our filter section and there is a low cut and a high cut and this thing called a tilt eq and i'll show that here to you in a second the other thing that behringer has done with the wing is they have put plug-in emulations within the channel itself so instead of having to send our channel and insert an effect rack we can actually do it directly on the channel not adding any latency on the channel itself so we can actually see all the different emulations that they have packed into this right here we have the soul analog which is going to be an emulation of the ssl g channel which is a very musical sounding eq next we have the even 88 which is going to be an emulation of the neve 88 rs the next emulation that we have is the even 84 which is going to be an emulation of the neve 1084. the next emulation is the fortissimo110 which is going to be an emulation of the focusrite isa 110. the next emulation is going to be the pulsar which this is going to be two plug-ins that were previously on the behringer x32 which were called the xtec eq1 and the xtec eq5 which they have actually been placed into the same plugin here called the pulsar eq so the xtec eq5 is on the left side with the three knobs and the right side is going to be the eq1 and the very last emulation is going to be the mock eq4 which is modeled after the maag eq4 which is a very musical sounding eq now one very cool feature that behringer has added is the ability of viewing what is actually processing on the eq section in the channel processing window so there's a window on the right hand side of the screen where when we are adjusting our q eq up and down on this where it is just set on the plugin we can actually still visualize what it's doing as far as the spectrum of eq goes so i will go ahead and adjust one of these and you can see how that gets adjusted so now that we've checked out a bunch of the different emulations let's go ahead and jump back over to the wing eq and let's use this on a couple inputs and talk about the low cut the high cut and even the tilt eq and so i have a show here that i have pulled up from my daw reaper that's coming in and playing through the usb on the back of the console so i'm going to go ahead and turn up the overheads here now one very cool function is the band solo and so we can go and click on a band and then hit band solo and what that does is it just solos wherever that band is and so what you can do is you can go in and find a problem frequency and boost or cut that depending on how you want it without even the audience hearing so say you're in the middle of a show and you don't want to boost that eq by 12db to listen to it you can just go use the band solo to find that problem frequency and take care of it into in a very discreet manner now when we're talking about the low cut and the high cut we need to go into the filter here we can turn on the low cut and turn on the high cut and even move them around on this screen typically on a drum set where we have overhead microphones i'm going to be cutting out the low end [Music] right there as we can see this would be too much because now the drums don't have any low end but all the way down here and we can still hear the kick drum which we don't want any of the kick drum coming through the overheads in this case now the tilt eq function i'm going to go ahead and show you on a set of tracks [Music] so i have my tracks here and what i'm going to do is i'm going to enable the tilt eq and using the tilt eq i can either boost the low end or boost the high end over across the entire spectrum [Music] [Applause] now another function that we have is the sonic maximizer that's built into this so we can go and select maxer and now we can go and adjust a sonic maximizer in this case which i'm going to use my tracks 1 and 2 to show this [Music] so using the tilt eq i can basically give a darker sound or a brighter sound to really any instrument we can even go over to the electric guitars and try this out [Music] so just by using these three filters the low cut the high cut and the tilt we can actually get a very good eq sound out of each channel with just these three simple things so let's go ahead and try it with the electric guitar [Music] [Applause] uh [Music] now one thing to note with the high cut the low cut and the tilt is those are completely independent of the eq on the actual channel so you can go and turn on and off the eq and it won't actually change what's happening in the low cut and high cut these are actually controlled right here or in the tilt eq section one perfect example of a place that we really need to use a low cut on is the hi-hat mic the hi-hat mic is going to get a very good picture of the full drum kit which we'll listen to here in a second so i'm going to turn on the high cut here and listen to how much information is coming through this microphone in the lower portion now as far as a hi-hat goes i don't want any of that adding into the overall sound of my hi-hat so what i'm going to do is i'm going to apply a low cut to get rid of all of that [Music] you can hear the difference between having no low cut where you can hear the kick drum and with the low cut enabled where you can't hear the kick drum so now that we've taken a look at the channel eq let's go ahead and jump into the buses and see what the buses have to offer us so i'm going to go ahead and go and select bus master one so this is my mix bus one and we can see that there are actually eight adjustments of eq we have a low shelf a high shelf and then six parametric bands of eq of adjustment and when we go into the emulations we can see all of our emulations here including a pia 560 which is an emulation of the api 560 which is a graphic equalizer now if you find that you need to have more eq ability and you are looking for something like a 31 band equalizer that's not included on this you would need to go to the effects section for that so we can do that by go ahead and pressing insert and going and selecting an effects processor that you want to use in this case i'm going to use 13 and then i can go and select graphic eq and now i have my graphic equalizer that i have full adjustability over the entire spectrum of audio additionally when we look at our main buses and our matrices there is also a bunch of eq options as well we can see that we have all eight bands of eq adjustment on our main busses as well as our matrices which those as well have the pia 560 as well now one thing to note is our auxiliary channels actually have a few less parameters that we can adjust let's go take a look at that so i have channel 40 here selected and we can see that there's the low the high and the four parametric bands of eq if i go and select one of the aux channels we'll notice that we only have the low the high and two parametric bands of eq and there is no emulations on the auxiliary channels so that's one main difference between a full processing of channel 40 and a limited processing of auxiliary eight and that brings me to the conclusion of this video about the eq section in a future video i'm going to be releasing i'm going to show you me building a mix from scratch all the way to full polished mix using all of these different sections if you haven't already make sure to hop over to my blog at dbbaudio.com or subscribe to my youtube channel for the most recent updates on these videos thank you so much

Channel: Drew Brashler

Views: 1,857

Keywords: Behringer Wing, Wing, Behringer, Behringer Wing Tutorial, Wing Tutorial, Behringer Wing Tutorials, Wing Tutorials, Behringer Wing Walkthrough, Wing Walkthrough, Walkthrough, How to use the Behringer Wing, Behringer Wing EQ Tutorial, Wing EQ, Wing PEQ, Behringer Wing PEQ, Wing Equalizer, Behringer Wing Effects, 31-Band GEQ, PIA 560, SOUL Analog, Even 88, Even 84, Fortissimo 110, Pulsar EQ, MACH EQ4, Combinator

Id: lstqmt74wk4

Length: 12min 36sec (756 seconds)

Published: Fri Dec 03 2021