How to EQ EVERYTHING: A FREE Comprehensive Guide

hello hello this is Justin Coletti of Sonic scoop thanks for joining me for this week's episode of the Sonic scoop podcast and today it's going to be all about how to EQ everything the concise guide totally for free this is going to be a concise guide unlike the super long guide I just did those of you who've been following this channel probably know that we released the EQ breakthroughs course very recently it came out just about a week ago at least a hundred thousand people have heard about probably more and thousands upon thousands have bought it so if you're a student of the course much appreciated EQ breakthroughs is like eight or nine hours super deep on EQ from foundation's fundamental conceptual understanding of how to use EQ as well as many master classes on how to EQ every single instrument in every single genre but today in 30 minutes or less or your money back I'm hoping to give you kind of an overview like a free version of the course for those of you who took the course don't worry the course is still like eight hours way more awesome than this but it could be great review and overview for you and for those of you who aren't in the market for a full-length course I just want to give you some of my general thoughts and best guidelines and best practices around eq'ing if you are not familiar with me and this channel why should you listen to me um I don't know you shouldn't listen to me you should listen to records and you should listen to how your EQ sounds but I have been doing audio for more than two decades I've worked with gold and platinum selling artists I've got gold and platinum plaques and all that stuff and I've even more importantly than that have studied the work for the past 15 years of the best producers and Engineers out there interviewing them producing master classes with them picking their brains and trying to figure out the common threads about how they work so yeah I think I can give you an oversight based on all that stuff and also based on me mastering for clients for years now and coaching people again coaching calls we do the mixed feedback sessions here if you want to become a member of the Sonic scoop YouTube channel it's super cheap and you can get personalized mixed feedback and I've seen what the most common problems are for people and what kinds of reconceptualizations reframing and what specific tips and tricks and ideas seem to help them the most moving forward so I hope this one can be useful for you before we get into how to EQ everything in every genre and every instrument and all that stuff I just want to give you a sense for um what we're going to be going over today so it'll be a really brief view of each instrument I'm going to bring up the Pro Tools screen now and then so you can see some ideas of what EQ moves might look like on different instruments and I just want to give a synopsis on each we can start with drums we're going to Bass acoustic guitars electric guitar sins and I'll make notes about what to do on different genres before we get into all of that I just need to hey that's not my good looking screen where's my good looking screen there's my better screen looking screen before we get into all of that I just need to give the brief a shout out to our sponsors this is a free podcast because we have sponsors the most important sponsor is you how do you sponsor this podcast consider becoming a member of the channel five bucks a month you get access to live q a sessions with me guaranteed answers to your questions you get access to the mixed feedback sessions but the best thing to do is sponsor by investing in yourself and sponsoring yourself check out one of our great falling courses like EQ breakthroughs mixing breakthroughs mastering demystified compression breakthroughs all of them are guaranteed to change the way you work forever for the better or your money back there is absolutely no risk in taking them and last but not least quick uh shout out and thanks to our other brand sponsors this time around we've got ultimate support stands they are sponsoring right now this short sm7b I have here is on this BCM 300 deluxe broadcast mic stand it is the best designed and the best built desktop mounted stand I've yet run into I've had a ton of ultimate support stands over the years they make really great stuff just really high quality and cost effective Brands so when you need to get a lot of good mic stands that aren't going to break on you and that you can have for years and years ultimate support have been one of my choices and probably one of my top choices for decades now so big thanks to those guys for sponsoring also a big thanks to sound toys for sponsoring once again this is your last chance to win the whole sound toys bundle go over to sonicscoop.com contest for your chance to win one of three chances to win their whole sound toys five bundle absolutely amazing set of tools and we also are uh we have another giveaway go over to pluginsmasters these are some new friends of ours who are selling plugins at incredible discounted prices and they are giving away about fifteen thousand dollars worth of free plugins check them out at plugins masters.com and check out their giveaway there I'll be linking to that in the description in the show notes down below also if you want to try out any of the soundtoys plugins you can do at over at soundtoys.com all right let's get back into the meat of this before we dive in and look at some EQ settings just want to give you some Concepts first of all drums how to EQ drums man drums are interesting because they are probably one of the most heavily eq'd instruments that there are in modern styles of music production when it comes to really modern rock hyped up electronic pop that kind of stuff anytime you have a real recorded drum kit there's usually a lot of processing going on to make it sound the way that it should close mics are often eq'd like crazy and you can see really significant moves on things like close mics for kicks and snares this is especially true when you have modern styles of music production with real live recorded drum kits we'll talk about specific EQ ranges in just a moment that you want to look at but ironically on some of the most processed styles some of the heaviest heavy Rock and metal records some of the most banging Club tracks electronic tracks hip-hop tracks in general a lot of the EQ doesn't necessarily come from EQ that's going to happen in your mixing session so many modern styles of music are either using samples sample enhancement sample augmentation sample replacement or just sample drums to get sounds so bear this in mind that if you're working with organically recorded drum kits for really modern styles they often want a lot of EQ and sometimes a lot of EQ isn't enough Sometimes using samples to augment or replace sounds is what's going to get you all the way there and in the course EQ breakthroughs we have a whole bunch of audio examples to give you a sense for what EQ can and can't do how far you can take things with EQ versus sample replacing we give you some strategies and ideas there there are of course other styles of music production that have a more laid back approach to Drums but even in those Styles drums are going to tend to be one of the more eq'd instruments now to really talk about eq'ing drums we have to talk about so many different things because there's so many different drums in the kit each one of them could potentially have a different kind of treatment and in different genres drums can have different kinds of treatments like the kind of EQ curve you would get for a metal drum kick or a hard rock drum kit is very different than the EQ curve you might wind up with for a Kick Drum in a hip-hop record or an EDM record so this is something to be aware of also eq'ing raw unprocessed drums that you recorded is a totally different Beast than eq'ing drums that you might have gotten from a sample Library even if it's one of these great sample drum libraries where we're emulating real players those are often to some degree eq'd and processed and brightened up so the approach to eq'ing already sampled process drums can be very different from the process of eq'ing drums that you're recording yourself all right let me open up the screen as I illustrate some of these ideas there's a whole bunch of great eqs you could be using I'm bringing up a few here there's really fun analog ones like this CQ from sound toys so simple and really fun to use just low mid and high you don't even know necessarily what frequency you're selecting for every band but eqs like this can be really fun and really intuitive and a great way to reshape things for today's purposes we could look at eqs like the plug-in aligns Kirchoff EQ or the fabfilter pro Q3 both of these are really similar and they have great graphical interfaces things like there are eqs from mcdsp that work this way there's a great isotope ozone EQ that works this way so there's so many great eqs in this family we can just grab one of these at random and take a closer look now for something like kick drum what we're often looking to do is cut in this is for rock Kick Drum to start with we're often going to be looking at kicks probably in the low mid-range Cuts in the low mid range so on a kick drum cutting somewhere between 200 and 500 Hertz this is one of the most common things to do on traditional Rock and pop kick drums as well as looking for boosts in the upper mid range now depending on the kick sometimes kicks want a little bit of sub frequency added to them but some kicks are actually going to want to take have you take some sub frequencies away from them but not an uncommon curve to look at on a kick drum could be looking for some type of upper mid-range boost between say 2K and 6K some type of low mid cut probably between 200 and 500 and maybe boosting lows anywhere from 60 hertz to 100 Hertz or cutting some of these low frequencies exactly what to do where is so context dependent and in the full-length course EQ breakthroughs we have so many audio examples to give you the idea for which direction you should go on any particular kit and just how far to go there are going to be some Styles in which huge boosts in the upper mid range could be extremely common we could be doing boost here I have 9 DB boost here right we could be doing boosts and cuts of 9 and 10 DB on Kick Drum this is entirely possible and on certain records that could sound awful and doing similar boosts and cuts in similar places of you know two or three DB could be more appropriate learning to hear exactly how far you should push it what exact frequency areas again context dependent genre dependent and the best way to get that is with lots of practice and one way to practice is EQ a lot of different stuff in a lot of different genres of yourself another way to do it is go into a course like EQ breakthroughs and EQ a whole bunch of instruments along with me and here how far we can take things get feedback from someone who's been eq'ing stuff for more than 20 years about how far I would take in this style compared to this style but these are some of the themes that are going to come up again and again some of the most important frequency ranges to look at in Kick Drum now one of the things I can't help but talk about when we talk about kick drum is the interplay between kick and bass and most often you're going to want to have one of your base instruments either kick or Bass be the lowest in the mix so it's helpful to think which of these elements is going to be more dominant in the sub-base area frequencies say below 100 Hertz and which of these elements kicker base is going to be more dominant in the upper base region say frequencies from maybe anywhere from 80 Hertz to 200 Hertz and there's so many different ways to break up the frequency spectrum and I go through some very systematic approaches about how to do that and about how to think about and hear the frequency of spectrum in the course but just to keep it quick today there's a chance that on one type of Kick Drum you want to be maybe a subbier kind of Kick Drum there's more sub energy and less upper bass on a different type of Kick Drum it might be the kind of Kick Drum where you want to have an upper base accent and the subs aren't as important now do you have to radically reshape every single Kick Drum that you get not necessarily and there's less and less the case in ironically the styles that are the least processed so if you're doing folk and Jazz recordings that are meant to sound really organic and natural maybe you're doing less EQ but ironically also in the most processed genres hopefully if you have an electronic track or hip-hop track you don't have to EQ the thing like crazy because the producer did great sample selection and if they they didn't sometimes it could be your job as a mixer to do some sample augmentation whether that's your role on a specific project is totally something we could talk about at length in another podcast episode but these are some ideas around Kik we'll talk a little bit about kick again when we revisit bass some common areas to EQ around base but this very same frequency curve that we're looking at here for Kick Drum we're often boosting up some lows cutting low mids and boosting upper mids this is a recipe for so many different sounds this is something that's done on so many different elements in the drum kit if we were eq'ing Toms it could be really common again to cut low-mids boost upper mids on Toms and maybe find a low frequency to boost on Toms maybe not depending on how much resonance how much bottom end we want out of those times it is also possible on things like kicks and toms to look at boosts higher up in the frequency spectrum closer to 8K our lower high frequencies and these are areas you can sometimes have welcome boosts in but you can potentially run to issues especially when we're not talking about samples where boosting too much in this area can give you too much symbol believe and there's so many ways around that problem how to deal with that problem how to get hyper real impressive sounding drums that have Clarity and the brightness and the crispness and articulation you want without having to deal with crazy annoying symbol bleed and we talk about some strategies for how to deal with that in the EQ breakthroughs course but again this same General thing that we're looking at for kick we could look at for Toms as well snare drum it can again be similar except the big difference is are fundamental on a kick drum could be somewhere between 40 Hertz and 80 Hertz depending on the size of the drum whereas our fundamental lowest frequency on a snare drum is likely to be somewhere more like 100 to 200 Hertz and sometimes it can be beneficial to boost the lowest fundamental on the snare and sometimes it could be beneficial to cut it which one is the case for your particular snare drum again context dependent and it takes a lot of listening exercises I think to get it right you can also look at boosting areas in snare that might be similar to what you might in a kick drum but often the center mid area starts to become more important in certain types of snare drums so where it's very common to look at Boost from say 2K to 6K in the upper mid range on a kick drum sometimes the Boost that some producers and Engineers prefer might be lower down into the centerment but again context dependent drum sound dependent and we have a whole bunch of EQ examples in the course to kind of get that idea home to you now let me go back to just our main shot here for a second to just talk a little bit conceptually about EQ when it comes to overheads this is something we have a whole module just about overheads and room mics and um drum buses in the course and we have a whole bunch of listening exercises that get you into the place where you're starting to really differentiate each of these General frequency bands so you know which ones to immediately go for in Grant and that's where I think so much of the benefit comes from and why I'm not afraid to share these EQ numbers because a lot of these numbers that we're looking at ranges we're looking at this isn't the first time you're going to hear this advice in these areas it's not the last time you're going to hear it either but what's going to make you stop asking so much is the experience and the ears on hours and a good conceptual framework for approaching how to EQ and that's what we go in into more depth and detail on in the course but one concept I want to give you right here right now is about EQ overheads and this can totally change your approach to EQ overheads because you may have heard the advice very contradictory advice from people number one hey don't EQ your overheads too much you should get the body the whole sound of the drum kit from your overheads and you're just supporting that a little bit with your close mics that's one approach to overheads you might hear totally the opposite advice though which is the overhead should be more like symbol mics and they can kind of like muddy things up and honestly in modern styles of production I don't want to hear a bunch of low end and low mids in my overheads I want them practically to be symbol mics we might go into our overheads in some modern styles of production and be like hey what are we doing with all this stuff below 200 Hertz let's go ahead and turn this into a low shell filter let's just get rid of a whole bunch of this stuff and let us go ahead also and put a high pass filter here and cut out some of our subs and you might see people treating overhead mics like this where they're really reducing significantly frequencies from low mids and below and maybe even cutting out Subs completely that sounds like a totally different concept than the advice of let's get our main drum sound from the overheads and then just add to it so which one of those is right and the answer is yes they are both potentially right but they are two dramatically different approaches to eqing Drums that apply in different contexts different styles and different mic techniques lend themselves to different approaches with EQ I would say in general the more modern and hyped up the style is and the more that you want to hear specific Precision on each and every element in the kit the more that that idea of using say something like a spaced pair of overheads is almost symbol mics and then adding in close mics and getting so much of your sound from close mics heavily EQ close Mike that are maybe sample supported that is potentially the way to go but there are other records beautiful sounding records where it's like about One mic capturing the whole kit and that's our bass drum sound one of my favorite producers who I've interviewed a bunch of times uh Gabe Roth of daptone records did all the Sharon Jones and the DAP King stuff he would often like to take a single mic not even with a spot Kick Drum mic or anything a single mic put in exactly the right place to get the whole kit feeling right and be like that's our drum sound that we're basing everything else around and it could end up being a really weird mic there's a story I tell in the course of the day that uh Nigel godric uh producer uh engineer producer for Radiohead and Beck came into a studio I was working at and we got the sense for what he was doing on this particular project where he was using a single overhead mic and I give more details about this in the course single overhead mic that captured basically the entire drum sound augmented by a single mic inside the kick drum and there again it was about getting the tone off of One mic but you really have to know what kinds of Records what kinds of styles lend themselves to one approach or the other and that's something we can go into more detail on another day but just know there are two potentially radically different approaches to doing overheads now we're 20 minutes in we've covered the basics of Kick Drum of TOMS of overheads of snare I could start going into rooms and drum buses I think that I'm going to say for the course because there's so many different examples and there's so many different ways to treat room mics are you using your room mic as a LED Zepp and When the Levee Breaks kind of thing where the whole kit is meant to come from those room mics and it's supposed to sound darker and fatter than the norm for you know modern Radio Rock Records or are you going for a sound like the room mic is just supposed to accent and enhance and broaden out the snare drum totally different approach to EQ but we've just been talking about kits right now we haven't even started talking about electronic music or hip-hop so what are some of the differences there some of the EQ curves I've been showing you right now I have just been harping on this old school idea of miking up a drum set and then eq'ing it but on a hip-hop Kick Drum these low mid areas that we might cut on a metal record or a heavy Rock record to get a really clicky coherent attacky Kick Drum these same frequencies 400 500 Hertz that you might cut in a rock or metal kick you might want a whole bunch of this in a hip-hop kit on a hip-hop Kick Drum you might want 300 Hertz 500 so Hertz 600 Hertz 800 Hertz this whole low to Center mids area this could be an important part for you to get some body out of the drums so you might not be doing these huge cuts in the low mids you could even boost and in certain types of hip-hop you wouldn't necessarily be looking for our 4K and 5K and 8K EQ boost to brighten things up maybe we're looking for a crunchy frequency in the center mids that's really bringing the kick drum forward and then of course on a hip-hop kick we wouldn't we probably almost certainly wouldn't want this high pass filter on here right let's just completely turn that off and who knows maybe we want to add in some more bottom below 80 Hertz or below 50 hertz to our hip-hop kick electronic kicks are similar but different they share a little bit in common with hip-hop kicks and a little bit in common with rock kicks in that you don't necessarily need to EQ an electronic kick like crazy just like you might not need to EQ A hip-hop kick like crazy because hopefully sample selection did the job but generally speaking hip-hop Kicks Will want more lows and Subs loaded into them and EDM kicks might not and every once in a while to make the low end sound bigger on an EDM record I actually have to cut some lows out of the kick so that it becomes more forward and maybe we're looking for a mid-range boost on an electronic music kick and maybe it doesn't happen in this super clicky 4K and 5K region that you might find on a metal or modern Hard Rock kick maybe it happens a little bit lower down in the 2K or 1K region but the big difference for me with hip-hop and with electronic compared to rock is just how much Sonic variety there is in kick drums how much we want to respect the kick drum sample that was selected for the record and how much we want to instead of answering the question with EQ if things just aren't working it's not the right kick drum sound it's not the right snare drum sound instead of going in there and eqing it like crazy like we might on a rock kick of just saying was the right sample selected do we need to go back a tick is this song not working because of sample selection and whether or not you're the person to make that decision depends on whether you're a trusted mixer for them whether you're actually the artist or the producer but if you find yourself eq'ing drums like crazy on a kick drum on a um a hip-hop or an electronic record maybe start thinking should I be eq'ing like crazy or am I trying to solve a problem with EQ that should be solved with sample selection so not every EQ problem ironically can be solved with EQ I hope some of this stuff is making sense to you guys now we need to go on to our next instrument oh man I could go on a huge huge Deep dive an hour-long Deep dive right now on electronic music snare drums and on hip hop snare drums and again there's so many different kinds but in the course I give you examples and I give you the context that you need to make some of these decisions for yourself often hip-hop and EDM snare drums can be a little bit more mid-rangey and constrained than Rock and pop snare drums can be but again super deep dive on that with audio examples in the course I want to keep on breezing through to give you some more broad Concepts our next big instrument here is going to be Bass let me check how I'm doing on time man we are already 25 minutes in I've gotten through drums we're gonna have to start cooking with gas I'm gonna go through base I'm gonna go through at least guitars and keyboards and I think my notes for you on acoustic guitars are gonna be really important my notes for You on piano are gonna be super useful for any of you who are ever dealing with pianos but bass is another one that a lot of people have a lot of trouble with so let's focus on that for just a little bit all right let's go over to screen share again all right when it comes to eq'ing Bass again you want to ask yourself what genre am I in what style am I in because there's there's such a big difference between getting a classic rock bass sound versus a metal bass sound versus a hip-hop bass sound versus a jazz fusion bass sound and you really want to know what makes sense for your style the first thing I'll lead off by saying is that what's going to change the most genre to genre is how the low end is handled and what specific area in the mid-range of the base that we're likely to boost to try to get some detail and audibility out of the bass without just making the thing boomy because one of the big problems here with bass is if we just turn up the level of the bass and make it louder there's often so much low end in a base that it starts to overwhelm the rest of the mix it makes things sound too muddy too boomy and if we turn the thing down it starts to get lost so on most of your favorite records the reality is that often low end gets taken down on bases but this doesn't always happen with EQ one of the most common things to happen on a base in a rock or pop a context is for there to be some type of multi-band or parallel compression being used where the low end is often compressed more heavily than our the mid-range and the upper frequencies and what that does just the fact that so many mixers by default compress their lows more than the rest of everything else is that this has the effect of kind of just taking down the lows a little bit which has this the effect of by comparison raising everything above the lows a little bit and this is one of the interesting things with EQ if I come over to here to 300 Hertz and I start bringing down 300 Hertz by 3 DB and then I turned that up this has practically the same effect is if I go in with the appropriate slope and boost everything above 300 Hertz and don't turn it up we get to the same place and this is one of the crazy Concepts about EQ that you start to realize the more you use it you can sometimes make six different EQ moves to get you to a sound that one single EQ move could have gotten you to or you can do two totally different EQ moves that get you to the same place just like going in here and cutting my lows below 300 and turning it up going to have a really similar effect if I have the right slope selected of boosting above 300 and not turning it up so where audibility comes from in base is in the mid-range and we almost always need some boosting somewhere in the mid-range to get enough mid-range detail of the base for it to be heard on smaller systems so if you're dealing with this issue on base where you boost it and it's too booming and overwhelms everything you turn it down you can't hear it the problem is most likely the the balance between the mid-range on your base versus the low end on your base now rather than just doing broad boosts and Cuts Like This a good thing to look at on base is which specific area of the mid-range does the bass want to live in and this again is genre dependent I'll tell you really quick that on rock records often somewhere between about 800 Hertz and one and a half K somewhere in this area that's where you're going to be looking to boost to get some of that mid-range definition you want at the base so it can cut through the mix be audible be present without being overly bright but there are other styles of record there are some records where if you want more of like a 90s jazz fusion sound then boosting up here in the 2K region 3K 4K even sometimes weird little boost in the the 8K region the more that you're looking at this upper mid-range area and maybe even some of our lower highs the more that we're getting this kind of um string noise like string articulation off of the base and it really transforms into a very different kind of Base play around with this yourself play around with what a really big boost sounds like in the upper mid range from say 2K to 4K and just contrast that and compare that to a boost from 800 to one and a half K somewhere in there you'll hear one sounds like a rock bass and one sounds more like you're summoning Victor Wooten or something it's a very different style and feel but then if you want like retro old-school Funk Bass sometimes you want to take some of these muddy low mid frequencies and boost them you could end up boosting 300 Hertz 400 Hertz 500 Hertz on a base if you want a retro old-school funky tone by contrast on a rockabase that same like a modern rock base where we're maybe we're boosting around here 1K we might also do a significant cut if I can find the right frequency here we go we can do a significant cut maybe around 400 or 500 Hertz so an EQ curve like this in the mid-range might happen on a rock base in addition though to finding the right spot to boost in the mids and again there's tons of examples that are kind of genre based in the course EQ breakthroughs we can hear a lot of the stuff together with me I'll push it too far so you can really hear it then we'll back off and we'll do a whole bunch of listening exercises so you can figure this stuff out but if you want to to really play around with this stuff and really Master EQ link bass you're gonna have to figure out not just the mid-range relationship which is possibly the most important thing on base you're also going to figure out how the low end is supposed to sit and this is counterintuitive but sometimes the way to make your low end sound bigger is to get rid of some low end on one of your low end instruments if you've decided that you have the kind of song where the kick drum is supposed to be this big Woofy massive bottom heavy thing to get away with that that might require that either your base is tucked way down the mix or you just go for a brighter tighter bass sound and you have the kind of record where you have a bright bass sound and a big bottom heavy kick and to do that sometimes rolling off your lows rolling off subs or it doesn't have to be this extreme with a high pass filter we could use a shelf to take down some stuff below a certain area sometimes doing a little bit of this low cutting can be useful on base but there are going to be other bass sounds where you're going to want to do the exact opposite instead of doing Cuts here some bases sounds are really going to lend themselves to having a big boost around 60 hertz or around 80 Hertz and the base really wants to live there often in these cases those are going to be songs where the bass is meant to be the big low throbbing thing and the kick drum might be a little bit more of a tight nugget or the kick drum could be a little bit buried compared to it and again we look at examples of how to approach these you can also have the approach of puzzle piece EQ and this is not always necessary or required but when people hear me talk about this concept of make room in the base for the kick and make room in the kick for the bass they immediately go to oh does that mean I should boost say 80 Hertz on the bass and go in and cut say 80 Hertz on the kick drum and we'll have these two eqs next to each other one on the base one on the kick and one's cutting that area one's boosting that area is that what you mean and the answer there is like maybe maybe sometimes that could work but that it's not always that you could even end up in a situation where you're boosting 60 hertz on your kick here's a 60b boost of 60 hertz on the kick and you're boosting you know 60 hertz on the bass but it's a One DB boost of 60 hertz in the base both of them needed a little bit more low end but on a relative basis you're adding five more DB of 60 hertz to the kick and you're only adding one more DB of 60 hertz to the base so on a relative basis you've increased the amount of low end on the kick relative to the base by 5 DB so you can still be respecting this concept even when you're boosting on both instruments it really comes down to First getting an understanding what's the role that each instrument is supposed to be playing is one of them supposed to be more dominant than the other because this is another thing us mixers getting ourselves into trouble with man we're going off the beaten path here for a second I get so free form on these live streams it's not like structured like the courses is or like the courses are I should say but I want to hit you with this concept because sometimes as mixers when we're getting into this stuff and we're getting started we have this obsession with I need to make it so that everything's heard equally well at all times how do I make it so I can hear both my kick and bass equally well and sometimes this idea of puzzle pcq over cutting lows on a kick and we're boosting lows on a bass or vice versa we're cutting 500 Hertz on the kick and boosting 500 Hertz in the base whatever it might be that idea we get obsessed with these things how to make them both clear at the same time but sometimes in the song that you're working on it is okay if the bass is louder than the kick and the bass is the dominant low end instrument and the kick a secondary and on some songs it's okay if the kick is the dominant low end instrument and the bass is secondary it's okay if that your main instruments in this mix are hey Matt's really about what's happening with the vocal in the bass and then secondarily the snare and then the kick is kind of second fiddle to all of those that's okay that's more of a concept for mixing breakthroughs and some of the things we really explore in course or channel members mixes when we do mixed feedback sessions we're always listening for that we always love to listen to references to tune our ears and say hey on some of our favorite records one of the most dominant instruments in this section what are they prioritizing hey on all these records you love their most important drum on this style and this Tempo is the snare and you've made your most important drum the kick did you do that on purpose because it served the song or are you doing that just because you wanted to see if you could make the kick drum audible because you're getting into mixing and engineering and you feel like you should be able to make kick drums loud was it the right choice for that song man super big important things to think about and to listen for that are honestly more important than your eq'ing that said eq'ing is super important super fun so let's talk about a little bit more so so many different ways you could approach EQ base again depending on genre and depending on how your kick sounds and the role it's supposed to play in the song now again we're doing a live stream here and I try to go into these a little bit unprepared and free form and just kind of go where things take me in real time but in the course we have it really structured really scripted there's a systematic process an approach that I think is going to be really conducive to you finally figuring out how to do EQ because it's not just a whole bunch of random tricks and examples strewn together it's not like this it's not like this idea of here's a bunch of instruments and here's the most important EQ place for horn the Boost 3K for byte Booth 8K for brilliant cut 500 Hertz for honkiness like it's it's not just that it's a whole systemic approach for how to think about EQ how to listen for EQ how to know what you're going for and how to systematically go in there and apply it and come up with a repeatable process to using EQ that you can do consciously at first and then once you've done this conscious process a bunch of times it becomes second nature and you're second guessing about EQ goes away and I'll show you the exact steps that I took more than a decade in in to being a professional on audio to really be able to understand and immediately hear any instrument or any mix and be able to immediately pick out oh this track needs actually a little bit more 700 Hertz with like a wide a bell-shaped filter maybe a DB and how do I know that immediately it's not because I sat around memorizing specific frequencies I did get really attuned to understanding the difference between frequency ranges and there are in the course seven different frequency ranges that I suggest that you really master and understand and if you can quickly identify what these seven frequency ranges are and how they sound and what the role is on each instrument then your EQ making decisions become so much faster and we have some listening exercises to get you there so fast I really believe that if you can differentiate between these seven bands without thinking about it you are going to be in better shape than about 90 percent of people professionally working in audio at EQ and I say that because I was in audio for years professionally making a living at it before I could reliably do that and I know a lot of great mixers today who can't name specific frequencies whether it's 395 Hertz or 402 Hertz they don't know but they know the general area that they need to affect so they don't think in numbers they think in ranges and that's something I want to encourage you to think about too I throw out the numbers because it's easier to be specific that way and I know that you know what I'm talking about but once you go through the course I'm much more inclined to talk to you about ranges rather than specific numbers but that that's a concept that I need five or ten minutes to really give you guys so let's stick with talking about numbers for now all right going on to our next instrument and that is going to be uh this one's going to be so helpful for you guys to hear about Ben since we have so such limited time in this live stream I get so bummed because I start talking about EQ and pace and I just want to talk about for an hour because I have more than hours worth of stuff to tell you about EQ base if I want to make it less confusing for you I really need you to give me 30 minutes to 60 Minutes on any of these instruments to not just talk about and not just look at curves but also to hear them and if we can spend that time together I just know you're going to come out transformed on the other end but I have to give the short treatment now I have to give the YouTube surface level here's five the five minute EQ tip that's going to change the way you EQ base I'm trying my best to do that across a whole variety of instruments but the Deep dive is really what makes it stick and really what allows you to internalize this stuff these are the kinds of things I say by the way when people who don't like my videos they go he's just talking a lot it's like man you need to find out what's important and like there's no way for me to to let you know how important it is to actually do the appropriate critical ear training listening kind of focused listening that you need to do there's no way for me to stress that to you without repeating myself and saying that you have to do it encouraging you to do it because it's so vital and it's something that is so different than watching a five minute video on when you're boosting when are you killing bathe you should boost in the mid-range and you know what that frequency should be one and a half K it's noise although one half K can be a good frequency to boost on base again depending on context all right acoustic guitar this one is super important because acoustic guitar is one of the most brutally murdered instruments of any instrument in most beginner and intermediate mixes and it's one of these things that's so difficult to EQ and some people do a little bit of the right thing but not enough of it and some people do a little bit of the right thing and then they do too much of it conceptually acoustic guitars you first need to figure out what role is the acoustic guitar playing and what kind of section are we in because if we are in a really sparse section of a song where it's a vocalist and an acoustic guitar and maybe like a single like low throbbing Kick Drum and that's all there is in the entire mix That acoustic guitar can be eq'd entirely differently than an acoustic guitar that's in the middle of a really up-tempo dense chorus section where there's a Hammond Organ and an electric guitar and a full drum kit and a synth pad and a synth lead and all this other stuff going on in a vocal and all the stuff two totally different approaches to Eco acoustic guitar in general in more Spar sections you can have bigger Fuller bodied more impressive sounding acoustic guitars and in general in more dense sections with more elements going on and more up-tempo songs you generally want thinner and brighter sounding acoustic guitars so bringing up our screen share here again if we were EQ an acoustic guitar let me set this back to the factory default here we might be looking at you know cutting out some low frequencies maybe we're doing a high pass we cut out some of the extreme lows maybe we're doing some type of low shelving filter to get rid of some of our lows and low mids and maybe we're trying to add some more brightness and Sparkle to the guitar in the upper frequencies maybe you really love the way 8 or 10K sounds on this acoustic guitar and you're trying to make it even prettier by boosting somewhere there maybe the acoustic guitar is too muddy and you want to cut somewhere here in the low mids between 300 and 500 so maybe something like this and probably with a bit of a broader bandwidth in here is maybe something you do on acoustic guitar and this could be exactly the thing to do on an acoustic guitar in a really dense section but although conceptually this makes sense sometimes this is wrong because sometimes by making your acoustic guitar too bright and now boosting too much between whether it's 4K 5K 8K 10K whether it's the upper mids or the high frequencies sometimes boosting too much up here will have this unwelcome effect of bringing the acoustic guitars too far forward in the mix and this is a problem I hear again and again on new and beginner mixes is that they will hear the advice of hey sometimes you want to cut some lows and low mids out of acoustic guitars particularly in a dense mix and sometimes you might want to add more brightness to it so they just go and do that and they end up going too far in that direction and getting acoustic guitars that are in front of the vocal in their track when the vocal is supposed to be the most important element in this song or in this section they have the vocal as far as depth of field back here further away from The Listener and the acoustic guitar is super close up to the listeners in front of the vocalist when you're thinking about depth of field and this might be exacerbated by the fact that on the vocalist they're putting some delay in reverbs but on the acoustic guitars they're totally dry and that brings them further forward still and with the acoustic guitars maybe there's two of them so they're hard panned so you have these hard panned acoustic guitars that are way forward in the mix totally dry and then Behind These hard pan acoustic guitars you have the vocalist who's supposed to be the most important thing in that section sitting behind the guitarists in The Sound Stage conceptually does that sound like the way things should present in a mix and start listening for that in your own mixes and see if possibly you're doing that so sometimes what you want to go with not always this is this is sometimes this is context dependent this is what's happening in the mix what's the style but sometimes you could be uh benefited by getting rid of low end and getting rid of some high frequency on your acoustic guitar before adding a whole bunch of 8K and 10K in pretty sparkly sounding stuff to your acoustic guitar ask yourself why am I trying to make this acoustic guitar sparkly is it because the acoustic guitar sounds pretty that way or is it because it's making the song sound better and here's something I wish I said near the beginning of this live stream because it's so important it does not matter whether or not the EQ moves that you are making make the instrument your eq'ing sound better let me say this again when you're EQ the acoustic guitar it does not matter whether or not the acoustic guitar sounds better what matters is whether or not the song sounds better is whether or not people are more emotionally connecting to the song is whether or not you're featuring and highlighting the right elements in the song and you could end up with the prettiest biggest most sparkling sounding acoustic guitar in the world that sounds like a featured acoustic guitar should but the problem is the acoustic guitar shouldn't be the featured element in that song in that section and every last extra ounce of sparkle and shine and Shimmer and impressiveness you give to the acoustic guitar detracts from that in the vocal or detracts from it in the snare drum or makes it so our piano sounds cheap or our synth sounds small maybe it's wrong maybe the stuff you're doing to make the acoustic guitar sound better is making other things in the mix sound worse so this is a huge Concept in the course which is sometimes the EQ moves you're making it's not about what they're doing to the instrument you're eq'ing it's about what those EQ moves are doing to other instruments conversely sometimes make your acoustic guitar sound better or sound more featured if it should be it's not about EQ your acoustic guitar to sound any different it's about eq'ing other elements that are in the way of your acoustic guitar are you trying to boost a lot of upper mids or high frequencies on your acoustic guitar because you can't hear the detail of it in the mix Maybe if so is that happening in fact because it's being masked by all the low mids or Center mids in the drums or is there some synth that's covering up the acoustic guitar and once we EQ that synthesizer to get out of the way the acoustic guitar now the acoustic guitar comes forward without us touching the acoustic guitar so I'm going down the rabbit hole on a concept here but principles for acoustic guitar specifically yes often in Den sections we're cutting lows and sometimes we even might want to brighten up top but every once in a while you might want to think about sometimes you could have a mid-range acoustic guitar sound that sounds less good in isolation sounds less impressive when you solo it but works better in the mix and I give you one example in the course where you can hear that transformation for yourself where I make the acoustic guitar sound objectively worse in Solo but it works way better in the mix and not because it makes the acoustic guitar sound better but because it makes everything else around it sound better so contrast and context is so important when it comes to mixing and when it comes to EQ in particular all right other elements to talk about I really feel like we're getting I meant to make this like a 30 minute live stream and now here we are at almost 50 minutes so we'll talk really briefly about vocals um electric guitars and synths and we'll talk a little bit about mix bus and mastering can we do that all in like 10 minutes I think so I'm going to give you really focused really concise ideas on them and if you want more depth they're on the course EQ breakthroughs now to keep this podcast free what are the things I've got to do I've got a shout out sponsors one more time because we're getting near the end of this episode so uh biggest most important sponsor as always you think about sponsoring Yourself by becoming a member of the YouTube channel it is right now this is so stupid it's five dollars a month you guys who are members if you're in the chat right now let me know how much it should cost to new people I'm going to grandfather all current members in at five dollars a month or as long as I can get away with it but for new members I'm gonna have to think about increasing the prices soon because it's ridiculous for five dollars a month the access that you get to live mixed feedback I mean the mixed coaching sessions that I do that cost close to 200 for an hour where I do mixed coasting sessions for people right now it's 175 dollars for an hour with me on a mixed coaching session you want me to master a single it's 135 dollars a track right now if you want me to master an album It's lower than that because it's under per track basis it's lower for albums but for five bucks a month I do these epic three hour long live streams where we listen to all the different mixes from all the different people and then we Talk Amongst each other about what if anything could be improved we first lead with what's really working in your records and what you should double down on doing no matter what level you're at we're always trying to find for you like what are the things that you're doing right what what works and then we're looking for what your lowest hanging fruit what are the areas you can improve what are the specific things that we can do for five dollars a month is ridiculous if you remember tell me what I should charge new members when I raise the prices should it be ten dollars a month should it be 15 I mean the mixed feedback sessions and the Q and A's are great and there's exclusive videos for you guys so check that out also we've got the full-length courses mixing breakthroughs compression breakthroughs EQ breakthroughs and mastering demystified each one of these is super deep dive and unlike a little live stream that I do they're super well structured I really put a lot of heart soul and I hope intelligence and into these so that they're programmed in a way where you go through the Course once and you will be changed for life and that is the feedback I get on these again and again so there's a 30-day money-back guarantee on them check out EQ breakthroughs eqbreakthroughs.com mixing breakthroughs mixingbreakthroughs.com compression Breakers compressionbreakthus.com and mastering demystified also quick shout out before we get into these last few items and how to EQ them is sound toys one of my favorite plug-in companies in the known universe we are last day right now go over to stockscoop.com contest for your chance to win the whole soundtoys 5 bundle or just go over to soundtoys.com whenever you're listening to this and just get the 30-day free trial to the whole sound toys five bundle it's absolutely amazing there's some of the most fun effects to use things like the crystallizer the super plate the echo boy the decapitator the CQ the radiator an EQ like the CQ you should have an EQ like this in Your Arsenal which is like lows mids and highs and maybe you adjust the mid frequency you're boosting and cutting and try eq'ing that way for a while man super useful way to think about eq'ing so check these guys out their new super plate is awesome also big shout out and thanks to Ultimate support making I think some of the best values in stands out there where there's a guitar stands mic stand the speaker stands they have this broadcast desk mounted stand I'm using right now a ton of great stuff and they just have really tremendous quality for the price I've been using their stuff for ages and I literally have some ultimate support stands that I've had for a couple of decades so good stuff all right now uh are there any other oh shout out one more thing plugins Masters they are giving away I'm actually going to put this into live chat right now if you're on the live uh version and if you're seeing the replay it should be in the description they are doing a giveaway they're a relatively new uh plug-in sales company that have been around for a year I met the guy who owns it Leroy really sweet guy he has good connection with all these plug-in companies and they're hooking them up with the ability to give away almost fifteen thousand dollars worth of uh free gear so pretty awesome uh big thanks to Leroy for sharing his giveaway with us over at pluginsmasters.com check them out some great values on plugins let me go back over to my screen share and I will go ahead and pop this link into the live chat for those of you who are on the live chat and check that out um actually did I give the full link let me see here you can tell this is live right there's a little code at the end of it maybe I should have put in this one that has a little code at the end of it bam okay back to eq'ing all right pianos really similar in concept to what I've been talking about so far around acoustic guitar in your denser sections of songs they generally want to get brighter and thinner and clearer and often you could be cutting out really substantial amounts of low frequencies and low mids on pianos when you're in really dense sections and Up Tempo sections of songs you really do not need much here in the low mids of you know 300 Hertz 200 Hertz 400 like all this stuff you can get rid of a lot of it and you can get rid of a lot of lows all the stuff below 200 Hertz the Denture the section generally the brighter you're going to want it depending on the style the piano part how bright it should sound you might again be looking for places to boost in the upper mid range and you could look for Boost in this 2K to 4K area or you could potentially look at boost up here in this 8K to 10K area or maybe a little bit of both this is an EQ curve we've seen before and we're going to see it again however sometimes in these dense sections things can get too strident too bright too annoying so there are going to be occasions where you want a piano sound that's a little bit more intentionally I don't want to say Lo-Fi but more intentionally mid forward and sometimes if you want some of the detail and audibility without all the brightness looking at Boost in this 1K area could make sense on an acoustic guitar or on a piano these are potentially areas to boost so don't think you can only ever boost upper mids and highs on piano because that's like the classical thing people tell you in the handbooks like sometimes the boosts want to be here in the center mid area and there are going to be times where you want piano sounds that really have a softened top whether that's with a High shelf to kind of soften the top a little bit or in some cases you could even use a gentle high cut or low pass filter to really get rid of stuff above 8K or 10K if you want a piano sound that is light and constrained on the bottom let me change this one to a a little pass filter but also has detail has Focus has not much weight on the bottom but isn't too sparkly you could end up with a mid-range a piano sound that goes something in this general direction so there's not one right way to go piano moves can also be very minimal and much smaller than this maybe you're just rolling off some extreme lows say below 30 or 40 Hertz where there's just maybe some pedal noise maybe you're actually boosting some stuff in the lows just cutting out a little bit of the boxy lower mid-range around 300 or 400 Hertz and maybe we're going ahead and trying to make the piano a little bit more sparkly up on top boosting a little bit of stuff above 8K or 10K and finding a little bit of an upper mid-range spot to lift an EQ curve like this where we're boosting lows a little bit but cutting out Subs reducing boxiness in the low mids a little bit but getting some more clarity and articulation and detail out of our upper mids and a little bit more Sparkle and prettiness and air out of our high frequencies that could be a way to go possibly in a piano that's in more of a spar section where the thing can really kind of spread out and breathe a little bit so again knowing which approach to go for when and where can be huge and we're looking at these approaches again and again of either sometimes amping up lows and highs and cutting low mids really common to do on miked up instruments but another variable I want to give you we talk about in the course we show examples on is that sometimes foreign you don't need to amp sounds up and sometimes you don't need to brighten them sometimes they're plenty bright and this is especially going to be true for you people who are using more virtual instruments than you're using microphones the more that you're using microphones the more likely it is that you're going to have to do some carving of low mids and boosting of upper mids and highs on certain instruments but the more you're using virtual instruments the more you might run into situations where they put a ton of 8K and 10K and 4k on that sound because they want to win an equip quick sip test they wanted their drum library to jump out of speakers and impress you so there's a ton of 10K on all the symbols and you might have to go in there and do the opposite of some of the things that I'm talking about I've been talking about brightening up your overheads maybe they already did that for you on the sample library that you're using maybe you need to go in soften the high frequencies and bring down some 10K on your symbols and hi-hats on a sample drum kit because they were already adding tons of that stuff for you having made these EQ moves already and having gone really really too far with them just to impress you in a quick sip test when you're just hearing the thing in Solo sounds great sounds impressive sounds brighter and bigger than all the other drum libraries but you might need to counteract that oh man vocals how to EQ vocals quick notes we're going lightning round now because I'm running out of time I want to keep this thing under an hour and I want to see if I can still do that with vocals um sometimes you want to cut subi low stuff often there will be on a lot of vocals from if I'm one of the mistakes that newer mixers make a lot is sometimes leaving in too much of this chesty low stuff around 200 or 300 Hertz particularly on male vocals sometimes this stuff will be too uncontrolled so often looking for places to cut in the low mids on vocals can be useful every once in a while of course you want to boost them but look around 200 Hertz and see if the vocals over emphasize there 200 250 can be a place to cut every once in a while you might want to boost extreme lows on a vocal like 50 60 80 Hertz on some male vocals it's uncommon but can be useful and it is pretty common to brighten vocals in the present range somewhere in the upper mids and in the high end somewhere in the high frequencies exactly where it depends on genre and style but I'll give you a quick thing here where male vocals more often tend to lend themselves to boosts in this 3K and 4K upper mid-range area more where female vocals tend to lend themselves to boost more in the high frequencies um you know 10K and 12K more and when it comes to boosting highs with male vocals I'm more likely to reach for a boost in lower highs around seven or eight K whereas in a female vocal I'm more likely to look for boosts in the upper area highs of maybe 10K or 12K so exactly where we boost and cut vocals depends a little bit on genre with those boosts and cuts happening surprise not surprisingly a little bit lower in frequency on male vocals whether we're looking at our lows or low mids or our highs and upper mids often our boosts are going to be slightly lower on average on male vocals and slightly higher on average on female vocals but most vocals need to get brightened up from the way that they were recorded unless you're recording on a very bright microphone and some of you are so sometimes you might need to address areas where your vocal might have way too much seven or eight k on it because that's just how the mic sounds and you need to actually reduce some of that seven or eight K area because of all that sibilance and sometimes it's not about eq'ing seven and eight K sometimes it's about keeping the brightness in seven or eight K but adding a de-esser to it and the de-esser is kind of like a dynamic EQ it's a frequency specific compressor that's going to control our S's and T's in that seven or eight K region but not bring it down overall all right we've just surpassed an hour here darn I've totally failed at giving you a under an hour master class on this stuff um so I'll just give you a couple quick notes electric guitars we generally EQ them less than acoustic guitars hopefully you got the sound right at The Amp and sometimes reamping is a more useful approach than eq'ing if the sound really isn't working you can sometimes bend over backwards with EQ and it's not going to do the same kind of thing that reamping or tone selection is going to do although we show some examples of both in the course um some similar Concepts oh high percussion is another one like acoustic guitar and sometimes they're way too bright in people's mixes and I hear beginner mixes have way too much 10K in their symbols they get too happy with this idea of boosting high-end in overheads and they boost it too much and like the only thing that has 10K in it is their vocals and their symbols and everything else is dark by comparison then it goes into mastering and you want to make everything have a little bit more clarity but you can't because of how much there's a ton of 10K on the vocal and the symbol is relative to everything else so that's something to watch out for another quick note here is about mastering EQ and I do a whole little Spiel here on mastering EQ in the course but there are basically four distinct shapes of mastering EQ four different cardinal directions that you can go with any sound and this applies the most when it comes to mastering doesn't need to get brighter doesn't need to get darker doesn't need to get more hyped up and more scooped doesn't need to get more focused and more mid-range first knowing which direction a master needs to go in and also we could talk at length about mixbus EQ and what you'd be trying to achieve by eq'ing the mix bus instead of the individual buses I hope this has been a good primer for you guys I'm looking at your chats as they come in and I'm going to read them all before I uh after once I end this live stream I'm not going to answer questions today but our next members only live stream is going to be happening at the end of this month where you will get guaranteed answers to any questions that you guys ask in the chat so if you want to partake in that click the join button at the bottom of this video here on YouTube if you don't see that join button it's probably because you're on a Apple iOS device in which case you may have to go into the description and click the link there instead because they don't let you join directly from the iOS apps so um hopefully I'll see you in there but if you've liked this if this has been useful and you've gotten some insights from it dude the course is so much better than this it's so much better structured every single one of those modules is planned out in advance with everything I've ever wanted to tell you about each one of these instruments where we're going to take a dive of this length into every single instrument hear a ton of audio examples and really Hammer the stuff home and there's so many great listening exercises where even if you just do the first 90 minutes of the course and just do the listening exercises and the conceptual and Technical portion I guarantee the way that you hear and use EQ will be changed forever just in the first 90 minutes compression breakthroughs are the same way it's front loaded where if you do the first 90 minutes of compression breakthroughs the way that you hear understand and use compression is going to change forever for the better and then all the stuff after that really hammers this home and gives you the requisite ear training experience you need to LeapFrog in your abilities pretty immediately a lot of you folks right now I'm gonna I will read some of the compliments coming about the course isomatic says the course is phenomenal hey man Felix has smash the like please do house music asks link to the course it's so easy it's eqbreakthroughs.com I'll type it in here for you eqbreakthroughs.com uh HTTP s colon slash slash so it's right there in the chat eqbreakthus.com for those of you who are listening uh afterwards not in the chat it'll also be in the description if you're more interested in uh compression breakthroughs we've got that too AJ says mixing breakthroughs was good also Ant-Man Felix says the EQ stuff is gold I want to get mastering demystified and or mixing breakthroughs at some point you should um mixing breakthroughs is one that has really changed the way that people have worked there's a lot of compliments here in the course oh big thanks to house music for giving us a uh a uh Super Chat here uh big thank you to house music we got a super chat in here for two bucks I appreciate it's really the thought that counts um Mr B uh two beats just became a member welcome so glad to have you as a member two beats I'm really excited to see you in the Q and A's and the live streams some more comments here music seven Studio says being able to seamlessly go between Dynamic and parametric EQ is great for workflow I think Aaron Miller says there's a drummer thinking about the why behind EQ curves feels like a huge concept yes so big know what you're trying to accomplish and that's one of the things we go through in our our process for EQ is the first step is to listen and ask ourselves what if anything needs to change I want you to get a habit of mindlessly eq'ing things based on advice that you've gotten on the internet based on someone told me this with a good I I was told that I should boost 8K on snare drum and also on vocal and also on the it's not necessarily about specific frequencies and this is one of the other things I want to get you into like whether you boost 8K or 7K given a sufficiently wide bandwidth doesn't really matter that much but knowing that you should be boosting in the lower highs and not the high highs and not the upper mid range that is big the lower down in frequency you go the more granular the more it matters the there's a much bigger difference between 60 hertz and 70 Hertz than there is between 10 000 60 hertz and ten thousand seventy Hertz ten thousand sixty and Ten Thousand Seven you're basically indistinguishable for all intents and purposes 60 and 70 are possibly distinguishable but pretty darn close but more important than getting right whether you boosted it 60 or 70 is the idea of should I be include increasing my sub bass on this or my upper base on this which of those areas do we need more and hey another member here new member just joined C Coletta I hope I'm saying you're right either see Colette or cele welcome to uh the membership uh really glad to have you here hopefully uh we'll see you in the next members only q a and the next mixed feedback sessions omniburn writes into says I'm gonna buy all the courses I would so love that you guys can get deals if you buy all the courses at once you will get huge discount on them even if you buy one course and want to add on a second you get discounts for bundling any two of them together so um if you really like the idea of both EQ breakthroughs and compression breakthroughs and you think you're going to buy them eventually you just buy them both at once now and you get a discount for buying both uh there's also the Breakthrough bundles that get that gets you EQ breakthroughs mixing breakthroughs and compression breakthroughs there's also the mix and master bundle that gets you mixing breakthroughs and mastering demystified and there's like the ultimate bundle that gets you everything so there's discounts for all of you guys um if you're looking uh to get more all right I could talk about EQ for another eight or nine hours and I do in the course EQ breakthroughs if you want with a tundra structure and a ton of audio examples so great to have you guys here thanks for joining me for this episode big thanks again to sound toys two plugins Masters and to ultimate support stands for sponsoring this episode big thanks to you for sponsoring and if you don't want to buy anything I hope this was useful for you you don't have to buy anything to get my love we've got hours and hours and hours and hours and hours of free videos on this channel and bless you too if you don't want to buy anything all I ask is if you made it this far and you're not buying anything please do hit the like button hit the Subscribe and maybe if it was this useful to you and you got this long share it if you never want to buy anything from me but you get this far in one of my videos that's like the best way you can pay me is give me a like a subscribe a comment and more importantly than all of them share share them with your friends they really helped you they could help other people that you know so thank you so much for being here and spending an hour of your day with me it's important to me that you could be anywhere else and you chose to be here with me thanks again for hanging out with me this has been Justin Coletti of Sonic scoop on the Sonic scoop podcast see you next time

Channel: SonicScoop

Views: 23,118

Keywords: mixing engineer, audio engineer, sonicscoop, justin colletti, listenable, music production, #justincolletti, #audioengineer, #cubase, #musicproducer, #listenable, #mixingengineer, #sonicscoop, EQ, Mixing Breakthroughs, Compression Breakthroughs, Mastering Demystified, eq breakthroughs, #eqbreakthroughs

Id: jPMO19UIqi4

Length: 70min 57sec (4257 seconds)

Published: Thu Oct 05 2023