How to EQ ~ Beginner to PRO Guide

hello and welcome to busy Works Beats .com today  we're going to create a free mixing course for   you because you voted we have over 2 000 votes on  our community Tab and you said you wanted a free   mixing and mastering course so this video is for  you what I promise you in this course is to make   mixing completely simple we're not going to over  complicate stuff I could I will go into advanced   topics but I will make sure that I always lead you  back to the fundamentals of something so if I ever   go complex I'll lead you back to the fundamental  understanding so I don't just talk way over your   head okay so I want you to like the video like  this playlist save the playlist share with your   friends do all those social currency things I  appreciate you um as a thank you we're really   trying to reach a million subscribers that's like  my next goal so please I just want to give you as   much as I can for free Okay so let's hop into FL  Studio and I'll show you how to use EQ so today's   video is about EQ so I'm going to start with  what's called a Sawtooth a Sawtooth before I   even describe what it is let me show you what it  is in this plugin called wave candy so Sawtooth   has a lot of harmonic content Okay so I'm going  to show you a graph you probably have never seen   NFL this is called wave candy so when I speak  notice how so these are frequencies from top to   bottom from 20 Hertz the low frequencies all the  way to the high frequencies notice when I say s   the S occupies a lot of frequencies it's not just  one frequency a lot of us were taught that when   we speak it's at one frequency you know 432 440  you're not speaking with one frequency and I'll   show you what that means in a little bit now  the fundamental frequency of all sound is a   sine wave it plays one frequency now these are  things called upper harmonics to where we can   multiply what's called a fundamental frequency a  fundamental frequency is the lowest frequency of   a sound let's say that number is arbitrarily 100  Hertz every duplication of a hundred is what's   called a harmonic so 100 Hertz times 2 is the  second harmonic that makes that 200 Hertz times   3 is 300 Hertz times 4 400 on and on and on and on  until you just continue upward those are got upper   harmonics and the way you shape them is called  overtone okay so that's what people mean by Tone   now with EQ what you can do is shape the tone of  something you can determine how much energy goes   to which frequency portion of a sound because  again a sound is not just one frequency so   this is the fundamental thing I just wanted to  show you today so notice how when I speak it's   all over the place if I zoomed in you would know  that I here you can see it goes up and down that   little yellowness that's the intensity of where  I'm speaking so when I say s is my intensity is   in a higher frequency when I say oh okay the  the frequencies are way lower when they're   yellow that's the intensity okay now that you  understand that let's show you a sign a Sawtooth that's a Sawtooth wave it has so many  harmonics that it fills up a lot of   frequency content we're going to work with  the Sawtooth because we're going to do what's   called subtractive EQ this is the strongest  EQ format you can understand to begin with   because most of us when we think EQ we think  boosting what happens if we cut for the EQ   let's go to our Sawtooth and let's pull up power  metric eq2 now what I'm going to do is show   you stock stuff and then I'm going to get more  advanced as we go my favorite EQ is the fabfilter   Q3 it just does so much and I'll just keep it  to those two you really don't need anything else   okay so fab filter is not free by  the way it doesn't come with the doll   so the main thing here is that FL has a stock  EQ but it's static okay it's not dynamic   and the difference between a static EQ and  a dynamic EQ is a static EQ when you make   a change it stays there unless you automate  something so let's show you what that means   so here's a Sawtooth down here we have what's  called a fundamental frequency it's the first   Hill of the sound let's make this a little bit  bigger because we don't need the browser do we   I don't think so let's make this a lot bigger  so you can see so this first hill I'll call   it a hill is called a fundamental frequency this  is where the sound has its root and then we have   harmonics to multiply that root so if I boost  this you'll hear more of a sine wave type tone   that boomi type tone that Bassy Rumble type tone  that's the fundamental frequency now the second   little Hill here is the second harmonic this  is a multiplication of the First Fundamental   this is that boxy tone okay it's in this frequency  range so if I cut out the second harmonic I'm   actually getting rid of that boxy Tone If I boost  that section it becomes more boxy and sounds like   this so sometimes all you have to do is find  the second harmonic of a sound that usually   starts around 100 Hertz and just pull it down to  where it's not conflicting with the first harmonic   it's similar to music I'm going to get a little  Advanced here but when I play a minor chord and   I play a major chord the only difference between  a minor chord and a major chord is that my is the   third a minor third is three semitones up from the  root a major third is four semitones up from the   root note that's the only way I can understand  the difference between a minor and a major note   okay excuse me a major chord so what happens if  we take out I'm saying metaphorically the third   or take out the thing that now and I'm getting  really Advanced you could take off the fifth   and it's still considered a minor so we still  know this is a Sawtooth my metaphor is that we   can take out frequencies but we still perceive it  as a Sawtooth that's my really Advanced metaphor   so don't be afraid to take it take out harmonics  because you could still get the image of a sound   without collapsing the entire perception of the  sound okay so this is the diff again static EQ   hard Cuts hard boost that just stay there  unless you automate them and move them around   now with EQ let's just get into what  frequency means so there's an app   let me see if I have it on here actually  we could do a little virtual experiment   so what I want you to do is put on your  headphones or your speakers and I want   you to as this thing takes all day to load  I'm going to pause the video so it loads   okay looks like we're back okay so in absinthe  actually let me pause it again all right so an   absinthe what I can do is I'm playing a tone in  the background what I'll do is a quick experiment   that you usually do in school I did this way  in my college days we did it with an oscillator   what we're going to do in absent 5 is go through  the frequencies now the question I want to ask   you let's go big screen right on this one the  question I want to ask you is which frequencies   do you hear loud which frequencies sound louder  okay so as I go through this oscillator we're   going to go from low frequencies 10 Hertz stuff  you can't even technically hear in the human ear   we're gonna go up 20 Hertz 200 Hertz 300 Hertz  500 Hertz 2 000 Hertz and then we're going   to go up up past 20K 20 kilohertz and I want  you to just say which frequencies are louder   and which frequencies can I even hear  or can't I hear them and this will go   into What's called the Fletcher Munson curve  which I'll pull up later hopefully I remember   um but we'll see what's the Fletcher Munson  curve in a little bit after this experiment   to help you understand why we boost and cut the  way we do okay so let's hit play on this one   okay I was wondering why I couldn't hear this  because it's so low over frequency so we're   at two Hertz right now so as I as I move this  up you'll start to hear the frequency come in   so you're not gonna hear anything until we hit  about 20 Hertz it's very subtle but it's there most of us if you have a headphones  can hear this Rumble right here at 40. now we're at 70. notice it's getting  louder we're not changing the volume   but the sound feels louder and I'll show you why [Music] [Laughter]   didn't feel like it keeps getting louder  nothing's changing except the frequency keeps getting louder and louder and louder [Music]   sounds like we tripled the  volume we didn't do anything you're like ow how much louder can it go  I'm going to move quickly through these   super loud super loud super loud then it goes what happened to the frequency it  was loud why is is the frequency if we pull it   up it doesn't get louder no and now we're past  20K you can't even hear the frequency okay so   the goal of that is to show you that our ear  s frequencies completely differently depending   on which frequency it is sometimes if it's low we  hear very subtly if it's in the mid range we hear   it loudly that's why a lot of mixing Engineers say  the mix lives in the mids it lives between 500 and   5 kilohertz I'll show you exactly why that is with  What's called the Fletcher Munson curve and that   simple experiment should show you I didn't change  anything again a quick recap all I did was raise   the volume from here upward I didn't change  the volume the panning or anything it's just   the frequency certain frequencies we perceive  as louder because of the way our ear is built   so let's get into why that is this here is called  the Fletcher Munson curve what we experienced and   what you just saw from raw data is that the low  frequencies you couldn't hear them which means   I have to turn them up in volume for you to hear  them so there's a certain threshold to where if   I just turned up that 50 hertz high enough you'd  be like oh there it is but it was so quiet I would   have to turn it up to match how loud those other  frequencies were so this curve is saying how much   basically you have to turn something up for us to  actually perceive it as loud I'll say loud okay   so we have to turn up bass a lot before we even  perceive it and as you see it's like this slow   climbing graph to where we get around 500 Hertz  we don't have to turn up the volume anymore to   really hear it at that type of loudness I'll say  so from about 500 to about five kilohertz whoops   I didn't mean to click off from about 500 to  about five kilohertz we have a zone that really   stands out which means this looks inverted but  basically if you flip this graph upside down   and we just play everything that we just did that  will show you the volume that we perceive as sound   as so again we started at 10 Hertz we could barely  hear it none of us get here and we started at 20   Hertz we slowly started to hear something then 40  Hertz was a rumble and then we went throughout the   other frequencies and if you invert this or flip  it upside down you will say that you will see that   as I increase the volume the perceived volume  went up excuse me as I increase the frequency   the perceived volume went up okay and then it  went really loud at about 5k 8K 10K and then it   just dropped off after that point and this graph  is showing you that okay so this is the Fletcher   Munson curve this is the reason why we don't  have to boost 500 to 5K as hard as we have to   boost the base okay so that's going to give you an  understanding as to why we're boosting stuff the   way we are and why we're cutting things the way we  are so now that you understand the Fletcher Munson   curve and you understand and um the frequency  spectrum okay so you have the the way our ear   is built for one and then you understand harmonics  now you can go into EQ understanding what the heck   you're doing okay it's not just this frivolous Act  of just boosting and cutting randomly now let's   go into the DAW and put this to practice okay so  let's switch cams okay now we're back in the doll   I'm using a Sawtooth to show you what's called  subtractive EQ this is going to be the first area   that you need to get used to with EQ again in the  beginning I used to boost a lot I would boost the   lows or boost the highs that's fine to do I'm  not telling you not to do that I'm just saying   that you won't really understand EQ until you  pull away or you subtractive EQ so again let's   do that same technique let's get rid of that  second harmonic because we don't need it if   I boost it that's the frequency it gives me this  and I don't need that in my Beat It just sounds   unnecessary so let's take out that frequency  now notice the visual of the hill is going down   as I pull this down in volume so most people  think if they cut it at what is this 4 DB that   it's completely gone it's not completely gone  it's still there it's just lower in perception   um there's a book called don't give me a quote  in books actually before I quote that book I'll   make sure I have the exact Data before I even  bring the book up okay so let's turn this down   but basically it's a book that shows you that  every certain amount of DB the volume goes to   half the perception so if it starts at normal  perception if I pull it down a certain amount   of DB it's now half that perception I'm going  to get that exact value before I speak on it   okay so let's pull this down now my sub my serum  feels more boomy I didn't add anything [Music]   all I'm doing is taking away that second harmonic  and listen to how the Sawtooth feels more boomy it feels like I increased the bass even though  I didn't do anything but take something away now   you don't have to be this extreme with your EQ  you just need to understand how a sound is built   as far as fundamentals remember over here on the  left that's the First Fundamental then that second   Hills the second harmonic third Hills the third  harmonic and it just multiplies all the way up   now different sounds of different harmonics  even in odd you don't need to memorize this   the point is to understand that we're eq'ing out  certain sections of a sound to rid fundamentals   in general to change the tone of a sound now what  we can do is boost up the lows now notice how I'm   not boosting directly at that specific frequency  but it's it's affecting that frequency because   of the gradient or the the bandwidth how wide that  EQ curve is it's actually affecting this frequency   but at a very subtle amount so if I keep boosting  this it will slowly affect that fundamental   frequency but I had to boost this a lot so what  happens if I change this up top you can left click   and drag this NFL to change the shape of that  specific point let's make this what's called a   bell curve so now it won't boost all the lows the  shape that we had before is called a low shelf if   you left click and drag this it says the low shelf  and that means it's boosting everything below a   certain point that's called a low shelf shape you  don't need to memorize this but just left click   and change this to what's called a peak or a bell  curve so now when I pull this up it zones in on   a specific frequency range and what I can also  do is move the frequency with this knob in the   bottom here I can move it to more directly align  with 100 Hertz now remember sound is not static   sound moves so let's say we move these notes  around let me make this a little bit faster so that's a realistic Baseline now what happens is the fundamental as I change  notes it moves from 100 Hertz down to whatever up   to whatever down or whatever that's what frequency  and notes are they're different frequencies   so as I'm moving the notes I'm actually moving   um the fundamental frequency so that means I  can't just EQ one frequency out I need to EQ a   majority of frequencies out if I want to affect  all of the secondary harmonics of that Baseline notice how this moved I wish there was a way to  pause it but there isn't so look quickly this   the second harmonic actually drips down all the  way to 146. so now I'm not doing the same effect   I was doing before where I was taking out the  second harmonic now it's active in the second note   so the question is how do you affect  multiple areas what we need to do is   either increase the bandwidth of a certain  section to affect more of the frequencies but you might hear that it thins out the sound so  this is where we create what's called Dynamic EQ   to take care of certain sections only when they  happen in a certain song now I'm not going to get   super advanced yet I want to focus here on the  second harmonic here let's pull this let's just   redo the curve because I moved it okay so we're  at about 200 Hertz and then let's change What's   called the bandwidth this is the knob at the  bottom the bandwidth this is how sharp or wide a   curve is so if I tighten the bandwidth it tightens  up the frequency then we can pull this down okay so on that second note if you listen closely  it still gets that boxy tone because the second   harmonic is active in that second tone so it  goes from being non-boxy to boxy and this is   this these are the small details that people  don't understand now there are certain eqs that   actually follow us called a fundamental isotope  I want to say which one is it nectar or isotope   I think it's a nectar has a plug-in that follows  the fundamental so as the notes move it actually   follows the fundamental to cut it out so you don't  have to keep eq'ing everywhere that would be the   ideal EQ for this scenario because again that  note keeps moving around and that's why sometimes   you'll make EQ moves but you're wondering why  your beat still sounds boxy in certain areas   okay so let's talk about the Boost real quick  so this is also a clean EQ this isn't adding   harmonics certain analog eqs when you boost  them they are adding harmonic content so you're   actually filling out the frequency content when  you're making boosts it's more than just the Boost okay so how can we take this to a different  level I'm going to show you this now because   I want you to see how far you can take it now  let's use the pro-q and what we're going to   do here is just add a point and we're  going to click on this headphone Zone and here's where that boxing phone this is  where the boxy tone exists I don't necessarily   want that boxy tone now you can tighten What's  called the bandwidth so but we're not going to   worry about that just yet so here for a long  time I didn't see this there's a range tab   the range tab will basically pull out volume to  a degree you determine so let's left click this   little thing around the banner or around the knob  I meant to say and pull this down so let's say we   want to pull out 6 DB at a certain specific point  okay so it's plus 6 DB now I'm just showing you   the advanced stuff you could do because this will  show you the difference between Dynamic and static   static remember just focuses on one zone and  it always cuts or always boosts that zone what   happens if we tell it to only pull out the  volume when the notes are getting too heavy   in a certain region and that's why we're using  Dynamic EQ so you can pull the dynamic range   down let's tighten the the cue so we're not  affecting everything and let's actually solo   I wish there was a quick way to solo as  you're widening the queue but let's do this   so now I'm going to sweep using my headphones  to find that area where it's like this now 200 Hertz I don't want you to demonize  200 Hertz it can be a good frequency to   boost on vocals too but here's the frequency  I don't like 300 which is that third harmonic   but I also don't like the 200 spot so what  I want to do is affect both of those so I'm   going to widen the queue until we reach about  200 Hertz which we are right here and then it   fully affects 300 Hertz and then it also affects  500 Hertz so we're kind of chiseling out but at a   different gradient encouraging now I can go  in and set the parameters as to how I want   this to react so if I click this little arrow  up top I can set what's called a threshold so   if the sound goes above a certain DB level or a  loudness I'll say then the EQ will cut away 6 DB so if I drag this down you could hear it actually doing  the work so the yellow line is how   much it's actually moving and cutting  the green line is what it can cut but   now the sound may sound thin so now what I can  do is move it around until I reach my sweet spot also I want to mention that if you switch  the phase here you got to understand this   I don't understand the Deep science  of the different phase types for this   one but we want to keep it natural phase  because that's three different phase types now let me to exaggerate this effect I'm going  to widen the queue because for beginners they   need to hear stuff exaggerated so I'm going to  exaggerate for the beginners let's widen this   out now again this is the potential range that  I can affect I'm not necessarily affecting it   until that sound passes the threshold and then  the EQ does whatever I tell it to do so in this   case it will pull out up to 6 DB of volume so  let's sweep the frequencies so let's say your   sound is too boomy you can censor this around the  low frequencies and affect all those low notes   without affecting everything else this is why we  would use a wider band and a dynamic band [Music]   let's say it's too boomy I could take out the more  boomy section I mean to a boxy I'm going to say so as I sweep it's harder to hear Cuts than it is boosts so let's make a dramatic cut here let's switch  this curvature to a high shelf this means it will   affect whoops that's a a high a uh high cut excuse  me a high pass filter that's not a high shelf High   shelf usually has like a little Fork icon so like  this so now what I'm doing is affecting all of the   frequencies above a certain point now if those  frequencies pass a certain threshold that I set   it will pull down the EQ and this helps you shape  what's called tone or upper harmonic content so   I'm going to sweep using this EQ to show you the  effect of this this is different than filtering [Music]   I think this is the sweet spot for  the sound that I want to create   around 400 Hertz that's how it becomes more boxy [Music] okay now like everything above about 10K so what  I'll do is I'll [Music] cut let's instead of a   high shelf I'm going to move a little bit quicker  here because this is just a personal uh setting   and not a mandatory setting let's switch it to a  bell curve let's widen out the range from about   who was it I forgot the  frequency I like was it 400   something like this and then let's add another  point in here let's make this a high shelf and   let's go in and boost it to bring back the sizzle  of the sound and also let's boost the lows it's   basically scooping out the middle part of the  sound now we've changed the tone completely I wish there was an easier  way to change the curvature   of this zone right here but oh you can here we go okay so I'm changing the way it  Scoops out the volume [Music] notice if I tighten it up it gets more boxy sometimes you want it that little boxy tone just  to add a little body to the sound you don't want   it to be completely bodyless so here's without  and here's what I want to show you is the wave   candy so you can see visually what's happening  to the harmonic so let's do this in real time   I'm going to drag this over here so here's  without the EQ [Music] I want you to   take a look at those horizontal  lines and how the color of them now you'll see it got a little more dense I'm not  sure if that picks up on camera but the top end   got a little more red in the bottom end you see  it got a little darker let's do that again foreign [Music] now sometimes people are trying to add  frequencies that just aren't there this sound   sounds cool but it just doesn't have that sub  Rumble so I mentioned before What's called the   fundamental frequency let's switch cams over  to the big cam so I mentioned that fundamental   frequency sits at the bottom of a sound this is  the lowest frequency the sound generates and then   you have you know harmonics which are multiples  of that fundamental frequency so some sounds   have the lowest point at let's say 100 Hertz it  doesn't have anything below 100 Hertz so you could   boost your tiltiers you could boost 20 Hertz 60  hertz nothing's going to happen because nothing   exists below 100 Hertz so what you need to do  is add additional information underneath the   100 Hertz this is where sub bass comes into play  or an 808 Bass Drum and this is where you would   do that complexity okay so I'm just trying to  help you understand that EQ doesn't necessarily   um pull out stuff that isn't there  what I would have to do in that case   to make the sound thicker is add another  oscillator and I would have to tell it   to be a sine wave in this case and be two  octaves lower or one let's do one [Music]   and now we have that frequency content below the  100 Hertz let me so let me turn off oscillator a and some of you can hear that some  of you can't so let's open up the EQ   and now you can see the base lives where  his frequency is this here the base lives   at about 50 hertz and below so remember  the Sawtooth doesn't exist at 50 hertz okay doesn't the lowest frequency  it had was 100 Hertz [Music] okay we went all the way down to about 60 hertz on  that okay so what I'm trying to show you is that   if you want to thicken up a sound sometimes  you can't EQ it in that's my main lesson for   this portion and the easiest way to add in sub  content are frequency content in the low end is   to add a sine wave pardon me because a sine wave  is only one frequency it's not a square wave or   a Sawtooth where it has all these frequencies in  there that will clutter up the sound if you just   want bass to be added look into adding a sine  wave to the sound you could do this in addition   to other music so if you have like a Kick Drum  and it's just not full enough add a sine wave   underneath the kick drum and lower the octave and  we'll fill out those lows so now when I go to EQ sometimes you don't even need the Boost at the  bottom because you already have the kick now   there's an ex now I wish I had more time to  go through the frequencies one by one but the   secret frequency is the Boost 60 hertz has adds  that Rumble to your card like that car shake feel   70 adds the car shake feel 100 Hertz is more of a  base like it's a base feel but it's not a rumble   feel 200 is a is a more full bottom end feel but  it's not Bassy it's more boxy but for vocals it   can really round out a vocal it's body I'll call  it body 400 is also body it can be a clutter zone   so from about let me just why am I like trying to  describe this with my hands let me just show you   okay so let's use eq2 just to make this simple  and this needs to get out the way okay so from   from here to where we are 60 hertz around here  some people say 50. I've found that it's 60 in   my car okay so around 60 hertz this is where you  get the rumble in the car this is where you get   the vibration 70 Hertz is also a secret frequency  for that 100 Hertz gives you um more like uh again   bass tone but it's not rumbly then 200 gives you  that top end of the base that boxy like this kind   of tone but sometimes it could be good for vocals  um 400 also gives you like this boxy tone but   again sometimes it could be good I  don't want to demonize these frequencies   um what else is a key 600 to 800 Hertz is  about a more nasally type sound for most people   you also want to take care of that because  that can be where a lot of resonance build   up speaking of resonance buildup I'm glad I  mentioned that because in Pro queue what you   can do let's open up another one is what you can  do is hold your arrow at the bottom right here so   if I keep talking it will read the frequencies  and it will show me where my frequencies have a   lot of resonance it's called so I have a lot of  nasal energy around 505 so if I pull this down   it's getting rid of that nasal energy now I'm  exaggerating this so you can hear it but once   you get rid of that nasal energy now if I boost  it you can hear that now I'm exaggerating but it   sounds very like ringy and just unnecessary okay  because I'm boosting it so much so I can cut that   out and it will change the tone of the sound so  this graph is showing me where frequencies are   building up and most of the time they'll build up  around 800 or 700 Hertz a lot of build up happens   around 3K for a lot of female AML vocals when  they're singing and a lot of build up happens   around 250 to about 500 Hertz okay so again  I know I'm moving quickly here but 60 to 70   Hertz secrets for making your car vibrate maybe  I'll make a chart or something you guys can have   um what was I saying here a 100 is a base tone  200 is the um like boomy part of the audio 500   is like The Punchy part of the kick uh 400 is like  a boxy tone but sometimes you need it for vocals   um 700 is usually where you get that nasally kind  of tone uh one to 2K is very this is where you   can actually let me do this on my vocal why am I  sitting here explaining this and not doing it duh   okay let's do this for the third time okay so  the boominess this is if you want that radio   ready voice you boost up your low end right  here um and remember you would need to boost   heavier because our ear can't hear base as easily  as it can hear other stuff so sometimes you would   have to boost this pretty heavy it's even hear  a difference okay so this is how you get that   radio low end that's shaking your car here at busy  worksbeats.com I need you to go ahead and not turn   that dial okay so that's the radio effect then  you have 100 Hertz which is I wish I had a bass   guitar already but I don't so this is more of um  usually the fundamental frequency of in this case   a male voice okay so that's where you get that  fundamental frequency if you want to boost that up   200 Hertz in this case is going to be that  boxy tone so it's more of that type of   boats you have to ask do you need that perception  of the room or do you not need that in this case   we don't need that it doesn't add anything it  just makes it warm for no reason I don't want   a warm sound so I'm going to cut that okay and  that's boost up the lows to give us a radio ready   type voice now this is not an EQ by any means  because I already have another EQ doing stuff   um also what I meant to mention with EQ is for  vocals most of the time you have what's called   a hike a uh high pass filter or a low cut which  gets rid of all the frequencies because if I have   my eqs off and you'll hear this a lot with other  YouTubers they don't do this so when they Rumble   their mic but like hit their desk you hear all  that Rumble in your microphone in your headphones and that's annoying people don't like that so you  want to cut out that frequency that's really low   frequency stuff um let me turn off my first EQ  so here's what the EQ sounds like just by itself   okay so I notice I have that radio ready sound  that low frequency boosted sound it's exaggerated   but it's rounded because again lows need to  be boosted a little bit harder than the highs   to really be perceived and this is how you get  the car to shake remember the goal of a radio   show is to have their frequencies Rumble the  car so that you're engaged more they want you   to feel the audio quite literally by shaking  the car and that happens around these lower   frequencies notice how I'm boosting 80 to about  60 hertz somewhere around there again this low cut   you can switch what's called a DB per octave  this changes the harshness of the curvature   I'm going to move this to be about let's say  50 hertz it's just cutting off that Rumble   again so if I hit my desk you're not hearing  all this excess Rumble um there's no you know   okay so I'm cutting up because we don't need  so I'm cutting that boxy tone now around 400   is again where you find body at most vocals  my vocal is a little bit deeper than others so a whiny resin any sound it doesn't add anything  to the vocal I don't need to overly cut but it   doesn't add anything either so what I'm going to  do is set this to be dynamic you don't need to   do this it's going to make it Dynamic so that  if it gets overwhelming then it will cut back   but I'm going to leave it as natural unless it  gets overwhelming and that way we can do that   so you can pull the range down right here let's  pull it down about 3 DB so if it ever gets over   clawing you could pull that back now here do we  make a cut so here yeah we made a hard cut but   I'm also going to make this dynamic as well so  it's a cut and it's Dynamic which means if it   goes past a certain point it's not only cut  but if there's more energy that I missed it   will also pull this down 3 DB sometimes you want  to pull it harder in this case we don't it's not   a performance take so we don't need to make it  super clean okay so from here where are we at 400   Hertz is our Dynamic curvature uh is this turned  on oh that was from earlier I think that was from   earlier okay so we're at 400 Hertz okay let's keep  sweeping here so let's notice now what I'm going   to do to be fair is widen the bandwidth so that  we're perceiving more than just that frequency   so now you can hear this this is my voice you  know that type of sound so again not necessarily   Pleasant so I'm going to pull this down and  make this Dynamic everybody has a different   approach I'm going to make mine dynamic because  I want it to be there but if it gets overwhelming   I want to pull it out and that's the difference  between a dynamic EQ and a static EQ static eqs   of force you to either pull it all the way out or  boost okay let's keep going here now we're around   1K or one once you reach 1000 Hertz we call it  K so K stands for thousand so 1K one kilohertz   that's where I get more of the presence of  the vocal I like that let's keep sweeping okay so 2K I'm getting a lot of that  presence in the vocal it doesn't sound   bad sounds good so I want to boost  both 2K and 1K so how do I boost those   both but before we get to the answer  let me show you more I have a lot of you notice that that build up sound so this  is where I want to take care of so I'm going   to set this to be dynamic and I want to pull  it out about 3 DB so if it gets overwhelming   it will take care of that zone now  in this case I want to make sure the   bandwidth is not super wide because I just  want to take care of 3K to about 4K that's   where it gets very heavy sometimes with  resonance okay so let's keep sweeping sounds very bitey and very present   is it at present I was trying  to say without the filter okay and then you get into like the granular  high frequencies okay so what I want to   do is Boost from 1K to 2K and then also boost  10K up so let's make a bell curve to boost in   general now making a cut and a boost at the  same exact time so I'm boosting my vocal at   about from about 600 Hertz all the way up  to about 4K but also if the frequency gets   too heavy around 3K it's pulling down so I'm  boosting and cutting at the same exact time   and this will help you boost an area you like  but also take care of a problem frequency   and then what I can do is just create one last  thing I'm going to call this a high shelf and   I can boost this to create that Sizzle in my vocal  and open the vocal up to make it sound really tall   when you have speakers you'll understand this high  frequencies just seem like they're higher in the   room lower frequencies feel like they're lower in  the room so this will literally open up the image   of a vocal to make it feel taller I'm biting this  high frequency here so this is a quick curvature   of what you can do now here's before this is the  this is the before vocal now my vocal is pretty   clean because I don't have a lot going on I have  to share some 7B and it has this thing around it   which prevents a lot of the background noise so  I'm not trying to fix a lot of error going in I'm   just trying to enhance and take away stuff that I  don't like about the voice and not the environment   because when you're recording you're recording  both your voice and your environment so now with   the EQ on I just have certain things exaggerated  and certain things pulled back so now you get a   different type of tone going into my voice and  then from here you would add it through your   compressor or do the compressor first and blah  blah blah okay so that's that's why EQ so again   here's without here's with no EQ profile here's  with my EQ profile sound like a radio uh voice   because I have enhanced and taken away certain  things now without I just sound like whatever   okay so with EQ you can shape What's called the  tone and that's the goal of the EQ I think I've   given you guys a lot to chew on um if you want to  learn more go to premium.bizzyworksbeats.com to   learn more we have a bunch of free courses  and you can learn a lot and just go to   premium.bizzyworksbeats.com I'll leave a link  below don't worry if you're new here subscribe   we're trying to reach a million subscribers like  the video share the video with your friends if I   missed anything let me know in the comments we'll  continue this series this is just video one of a   free mixing course series for you thank you for  watching it's game from busyworksbeats.com peace

Channel: Busy Works Beats

Views: 56,563

Keywords: fl studio, fl studio 20, fl studio 21, mixing, how to mix, mastering, how to master beats, how to mix beats, how to mix songs, fl studio mixing, fl studio 21 mixing, fl studio 21 mastering, EQ, mixing eq, free mixing course

Id: joouD3klwUM

Length: 38min 24sec (2304 seconds)

Published: Sun Jan 08 2023