The Last EQ Tutorial You'll Ever Need

yo yo what's going on you guys your boy devontor in raw form and welcome to another help me devon raw tutorial and today in this help me to bar world tutorial i'll be showing you guys probably or hopefully the last eq video tutorial that you'll need to understand eq now when i say this what i'm really really trying to get at is i want to show you guys a way to approach your eq i want to give you a mentality and a workflow so that when you approach your eq you know exactly what you want and you make better decisions i am ultimately trying to get you to make better decisions when it comes to your eq because let's be honest when it comes to certain things really what it comes down to is are you supposed to cut here are you supposed to be boost hair when are you supposed to leave things alone and that's basically what we're going to accomplish right now with this video a huge understanding to give into your workflow and your mixing theory so that when you go to your mixes for any sound source you have an understanding of what you're trying to accomplish and do with your eq okay so first and foremost let's listen to this vocal and this is a vocal that has no eq on it whatsoever it's just a vocal with a little bit of compression and listen to it in context to the music check this out oh facts watching you crazy what's up with it i feel like i know you read all the comments how to approach [Music] so i heard that vocal and there's some things that i heard within the mix and context of the music that i want to change i feel like i want more clarity out of vocal i want some more presence i also want to uh get rid of some of that muddiness that i hear especially in the bottom end so now that i've said this to myself i say to myself well what in the eq will help me to accomplish these things and this is exactly what i'm going to show you now before we go any further i just want to say please subscribe and like on this channel to keep this thing going and you can also visit helpmedivan.info for a lot of goodies that we have vocal chains presets etc uh for pretty much all daws check it out descriptions in the bio helpmedivan.info now what i'm going to do is i'm going to show you the concept of how to approach your eq so like i told you i already addressed my problems i felt like i had a little bit of that low end rumble that i want to get rid of i also want to clean up that muddiness i want some more brightness and i want some more presence so all of those things are taking into account and now i'm going to attack that with my eq now i think the most important thing that i can show you or what i'm trying to get across to you is going band for band if you understand the individual bands of the eq this will help you to make better decisions so i break it up like this lows low mid mid high mids and then highs if you can understand what each one of those bands do especially within the frequency ranges it will make you make way better decisions so let's listen to 90 hertz and below which i classify as the lows let's solo this and listen to what the lows sound like oh thanks be warning you baby we're watching you crazy what's up so that's the lows it's really that stuff way way down there kind of like the low end rumble um the the room tone the a lot of noise a lot of things that you probably don't need especially in vocals are down there in this frequency range so if i'm saying to myself i really want to get some rid of uh that low end uh rumble uh i want to make some more space and clarity out of vocal this is a great place to start 90 hertz and below i'm gonna take some of that stuff out so check this out oh facts been wanting you baby been watching you crazy what's up with it feel like i know you read all the comments know how to approach you i see them and i know they out of pocket i could imagine in your dm there you go where you really really notice this difference is that place where i say cm and then out of pocket when you listen to that pocket you hear that plosive sound when you're very close to your microphone you get the proximity effect and when you get the proximity effect pretty much those p's and um plosive sounds will be even stronger my suggestion back up from the mic but if you have a recording and you just need to fix it in eq what i suggest is rolling off that 90 hertz and below and it'll get rid of that low end rumble that you hear at that bottom so check this out let's go on on over to the plosive sound of the pocket let me listen oh i see them and i know they out of pocket so let's take this off listen to the pocket part right now without the 90 hertz rolled off oh i see them and i know they out of pocket do you see that pocket kind of pop right out and that sound is there now let's put it back on and let's roll off even more let's roll off about 100 hertz oh i see them and i know they out of pocket now it's not completely gone but it did softened it and contained it a little bit so when you hear these ploses and when you hear this low end information on your vocal or any sound source for that information that you really don't want there try rolling off that 90 hertz when you're looking at low end uh and as far as rumble and and and and that stuff down there 90 hertz roll it right off now you keep this in your mind 90 hertz i hear rumble oh i'm going to 90 hertz you roll that thing off okay next thing i'm going to do is jump on over to this other band and this is still in the low mid band we're now in the low mid frequency band we're in this low mid frequency band but when it comes to low mids i like to break my low mids up into two bands so there's like a low mid and then i have a upper low mid don't get confused by that just follow along what i classify in my low low mids is a hundred to 300 hertz now within this frequency range what i notice and what i hear is boominess warmth and muddiness now i did say something positive in there because i do want you guys to realize that you don't always go to certain frequencies and just cut sometimes you want those frequencies there and it can work in your favor for instance when it comes to that 100 to 300 hertz range what i noticed with the 100 hertz ranges when it comes to bass frequencies that's where i get some of that that uh uh that clarity out of the bass in the sense of i can actually hear it it's intelligible on speakers granted you can go higher up but when it comes in at a 100 hertz range i notice that i get a little bit more presence out of the baseline when it's there now for the vocals what i notice what it does for me personally 100 to 300 hertz is it can give me boominess it can be where the mud is and it can also be where i get warmth out of the vocal so you have to make your decision on which one is it that you want to actually attack so i said to myself earlier remember my problem that i said i need to get uh rid of some of that muddiness and i want some more clarity out of the vocal so my mentality is to cut in this frequency range so i'm gonna go to the middle of the frequency range which is about 200 and we're gonna make a cut let's listen oh i see them and i know they out of pocket i could imagine in your dm they be wilding but i swear to god baby i'm solid and let's bring it back a little bit more so we could hear it from the beginning and check this out i'm going to bypass it back and forth listen to what i did oh facts been wanting your baby been watching you crazy what's up with it feel like i know you read all the comments know how to approach you i see them and i know they out of pocket now that you heard that and you can notice when i actually have it engaged you notice that there is some more clarity that we get out of the vocal you even realize when i bypass it that you feel like this muddiness kind of tone to it now let me exaggerate this for you just so you get an idea of what is actually in that frequency range check this out oh thanks been one your baby be watching you crazy what's up with it feel like i know you read all the comments know how to approach you i see them and i know they feel this smoothness you feel like the vocal just uh un gets uncovered and this is where that frequency range lies when it comes to uh trying to find um how to get rid of some of that muddiness in your vocal or any sound source for that nature usually when you're trying to clean something up those plosives kind of uh dissipate a lot of things in that range with the low end really get cleaned up when you start there now granted if you were looking for warmth in this vocal let's say for instance you had a vocal and you really wanted to get a little bit of warmth out of it you can boost here let's say you didn't have a problem with it and you felt like i just want more warmth you can boost in this frequency range and you'll notice that you'll get a little bit more warmth out of the vocal be very careful with this though because this place right here can really dirty things up okay let's listen to this in context with the music so it's bypasses back and forth listen to what i did by rolling off that low end and getting some of that boominess or muddiness out of the vocal so without first oh fact watching you crazy [Music] [Applause] [Music] now to my ears yes there's a volume difference and i will match the volume but what i noticed is that i noticed that my vocal gets out of the way of the bass and the kick and that and that low end stuff so i feel like the vocal just kind of moved up a register and i hear more clarity out of the vocal the vocal feels a lot more clear in the sense of its intelligence and stuff like that so let me match the volume just a little bit let's boost it a db and check this out oh fact watching you crazy [Music] so you can really hear this when i match the volumes and you hear the relationship between the bass or the 808 and the vocal you feel like the 808 and the vocal now live in a place where they're kind of away from each other and this is why this is so powerful i'm now creating shaping and toning that so that i have space for that vocal now that vocal is cutting through in the mix a lot better so you understand now that low frequency which is those rumbles and stuff like that as far as 90 hertz and below and then at 100 hertz to 300 hertz below uh in between there is is the muddiness is the uh the uh the uh just the frequencies that basically really can give you clarity when it comes to the entire vocal so that was the lows and the low mids so now that i've done that i'm ready to move on to the other section of the low mids that i told you guys about so check this out let's move on over to here now this frequency range is the 350 to 600 hertz range this is what i like to call this we're still in the low mids but we're just on the upper side of the low mids and this is from 350 to 600 hertz this is where i typically go basically this tone gives me a boxy tone so from 350 hertz to 600hz i notice a boxier tone so check this out oh facts watching you crazy what's up with it feel like i know you read all the comments know how to approach you i see them and i know they out of pocket i could imagine in your dm so when i exaggerated you can really hear it it has like this kind of effect like a cup is covering over your vocal or your sound source and this is the boxier tone now i do want to take out some of this but be very careful when you take out this boxy tone because what can happen is you can wind up uh taking too much of this out and your vocal sounding hollow so not all of this is bad but there is a little bit of a boxiness sometimes and some microphones can give you when you're looking at or hearing boxy sounding uh sound sources this is where it's at in that 350 to 600 hertz range and you can pull this out and really get some um a better sound as far as getting rid of that boxy tone so check this out oh facts been warning your baby been watching you crazy what's up with it feel like i know you read all the comments know how to approach you i see them and i know they out of pocket so i took out about 2 db of that now let's exaggerate this and take a lot of it out let me show you what it sounds like oh facts been warning you baby been watching you crazy what's up with it feel like i know you read all the comments know how to approach so when i take a lot of it out you'll notice that um it feels like the vocal loses a lot of its character a lot of it's also gone it feels like you just lost too much out of that vocal so that's why you have to be very very uh careful with how much of that boxy tone you take out in some microphones there may be a lot of it and that's why a lot of us will take that boxy tone and pull it out if necessary but if you don't hear so much boxiness you don't need to bother it so much maybe take out a db or maybe leave it alone completely i'm trying to show you when to make these decisions what you're listening for in order to make these decisions going down the line so let's listen to this in context with the music and find it oh facts watching you crazy [Music] the vocal sounds so much more smoother there is clarity and we haven't boosted a single thing this is how understanding eq can make you make better decisions when you're going down the line of mixing okay let's go on to the next thing the next band that is extremely important extremely important and this is probably the most dangerous frequency range that people mess up and i feel like play with all the time is the mid-range we've done low we've done low mids now we're moving on to the mid-range now the mid-range i classify or to my ears i say is from 1 000 hertz to 4 000 hertz this is basically the presence frequency this is where competition lies this is where basically the bulk of your ears uh hone into this is a very important frequency range and this is the frequency range where heart is harshness list this is the most dangerous frequency range that there is to your ears 1 000 hertz to 4 000 hertz now for me i say to myself hey i do want a little bit more presence out of this vocal so as soon as i think presents first thing i think about is that frequency range 1 to 4k but at the same time this is another place where harshness lives so you got to be very careful in when you boost this frequency range to avoid harshness now if i boost in that 2000 uh hertz range i'll notice that i do get a little bit of harshness out of the sound source but if you feel that way and you feel like the vocal has too much of it maybe boost in a thousand hertz range just on that lower end of the spectrum for it check this out let's play this in context with the music we're going to boost at the 2 000 hertz range to get more presents that was one of my issues i wanted more presents oh facts watching you crazy what's up with it i feel like i know you read all the comments know how to [Music] so i like that i got a little bit more presence out of the vocal i did also notice that i got a little bit of harshness out of the vocal too we're gonna watch this as we go when we're mixing but for the most part where i'm at sitting with it i'm okay with it for the moment being right now granted in a real situation i probably put a de-esser on this from before i even do this just to combat it but just to show you the context of what we're doing this is important so from that 1 000 to 4 4 uh 4 000 hertz range you're basically hearing a presence boost and that's where that presence lives this is where competition lives i'm gonna help you understand what i mean when i say that let's move on over to the main instrument sound that we hear which is this [Music] now what i'm going to do is i'm going to bypass the eq that i did on this actual um instrument part and what i'm going to do is i'm going to play the vocal listen to the relationship between the vocal and the main instrument part oh facts watching you crazy what's up with it feel like i know you read all the comments know how to approach you now to my ears it doesn't sound bad but there's a tad bit of competition and i feel like i want to combat that competition and when i say competition i'm saying that when you're actually mixing your vocals and instruments you have to understand this same concept maybe there is a uh that presence frequency from that one to 4k that also interferes with that presence frequency in that wonder 4k of the vocal so what do you do when you hear two instruments and you feel like they're just not living together what do you do well what i usually do or sometimes what i like to do is i like to go on over and think to myself well what is more important what's important to me is that vocal sound i want my vocal to always be heard i want my vocal to always take precedent over everything else so i go on over to that piano sound or that uh that that that instrumental sound and i think to myself well let me pull out some of that one to 4k frequency so that the vocal has more room in that specific frequency range so now check this out i'm going to bypass this instrument sound back and forth and listen to the relationship between the vocal and the instruments oh facts baby watching you crazy what's up with it feel like i know you read all the comments know how to approach you i see them and i know they out of pocket i could imagine in your dm they be violent but i swear to god baby i'm solid when i engage it you can feel like the actual instrument kind of takes a sit back and gives the vocal some room to breathe and to be its own and that's what makes it so powerful and that's why this applies for instruments as well as vocals as well as any sound source if you understand the concept of eq in this way you can make better decisions and that's exactly what we did we just made a decision to cut back on the instrument to give room in the actual vocal and we knew this by just listening knowing where most of the presents lied and actually cutting that stuff out to make room for that all right so let's move on over to another frequency range uh we're almost there we're going to move on over to the five to eight kilohertz uh frequency range which let me put this right here boom so for me when it comes to the five to eight kilohertz range this is where one problem sibilance lives and this is also where you get a brighter more intelligible vocal to me i love that five to eight kilohertz uh tone but you have to use this in moderation this is where you'll get that intelligence out of the vocal where you get that brightness i call it personally bright bite this is where i get that brightness that hangs on my ear and it really holds me and feels like quality and this is why you get a lot of siblings but you got to be very careful with how you boost it but remember when i had my issue what did i say i said i want to clean up the vocal i want to get rid of the muddiness i want to add some presence and i want to add some brightness to it that was my entire thing so now i'm thinking to myself all right time to add some brightness all right so let's go on over to this frequency range which is i'm going to boost at the 65 31 hertz range so 6531hz range which is in between five to eight k i'm gonna boost there let's see what happens watching you crazy what's up with it i feel like i know you read all the comments know how to approach you i see them and i know they out of pocket i could imagine in your dm they be violent but i swear to god baby i'm solid so when you heard it you felt it it instantly just hung on my ear just felt better in the sense of just the clarity of it i heard the vocal the vocal kind of pushed itself forward in this way to my ears granted the issue you also hear is you hear more s's you hear more t's as far as the uh siblings is concerned what i would probably do is or what i'm going to do later on would be to de-ess those things and stuff like that but at the end of the day in this very instance in that moment i added the frequencies that i needed in that brighter section i wanted some of that high-end information so that i can get the vocal to cut through on that mix a little better and that's where i just basically set to live within that 5 to 8k when you're looking for that intelligence that articulate um brightness sound it's usually in there but be very mindful of your actual sibilance now a lot of people for instance will boost in these frequency ranges for uh other instruments and things like that and this same rules applies when you boost in this frequency range it can add certain things but at the end of the day this is where i like to add that brightness or that clarity out of the vocal for the most part all right last frequency range is a frequency range from 10 000 hertz and beyond meaning up until the upper register so 10 000 hertz and upper this is where you add air this is where i would add air into a sound source and what the air can also do is it can give you a sign or a sense of uh quality a sense of intelligence um and just a feeling overall so check out this air let's add it so this is from 10 000 hertz and above i'm going to boost oh fact watching you crazy what's up with it feel like i know you read all the comments how [Applause] [Music] so when i engage that you can almost feel like the vocal kind of just opens up it's this brightness that just feels really nice within the song and now uh the vocal feels like it might be the brightest thing in the mix which helps me focus in on it so adding that 10 000 hertz and above range will add air to your sound source and now that you can look at this video watch it a thousand times and help you understand if you understand what each band of the eq does from a fundamental standpoint you can then make and assess a problem within your mix or what you want out of it if you say hmm this needs more clarity where are you going i'm going to that 5 to 8k or 10 000 and above range if you say oh it sounds really dirty and muddy where you going you're going to the low mid section so take some of that stuff out to give you that clarity if you hear plosives and p's you're going to roll off that 90 hertz and maybe a little bit more over there if you understand the problems that you have and then you understand the fundamentals of the eq range you will make a lot better decisions when it comes to anything um in your mixes and your masters so that was my video on basically helping you to understand the concept the fundamentals into just a better theory on eq so that you can actually apply these techniques i really hope that was helpful please make sure you subscribe if you got all the way to this point uh make sure you comment like and subscribe again remember again you can follow us at helpmedivan on the instagram and you can also join our discord uh there's a bunch of talented engineers and stuff like that ended uh in our discord in the description below that you can go to and chat with them uh there's also help me devon.info to keep this channel alive where we have a bunch of templates and presets and all kinds of stuff for all kinds of daws and um if you guys have any questions comments or concerns as well make sure you email me at helpmedivan gmail.com also i just want to say we are almost at a hundred thousand uh subscribers on youtube thank you guys so much please keep sharing this is the road to 100k i have a great surprise for you guys when we get there um until next time you guys you

Channel: Help Me Devvon

Views: 329,487

Keywords: tutorial, eq, logic pro x, mixing, audio, equalizer, music production, logic pro x tutorial, equalization, fl studio, how to eq, jordan baywood, baywood, how to mix vocals in logic pro x, vocal presets, how to mix vocals, how to make vocals sound professional, how to sound perfect, how to record vocals, vocal mixing using stock plugins, stock plugins, mixing and mastering hip hop vocals from scratch, how to mix vocal

Id: alYAiloptkM

Length: 23min 54sec (1434 seconds)

Published: Mon Nov 09 2020

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