EQ Tutorial: HOW TO HEAR EQ PROPERLY | How To Train Your Ears for Mixing and Mastering
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- Опубліковано 10 лис 2020
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📺 ABOUT THIS VIDEO :
Do you hear people talking about EQ with different buzzwords, In this video I’m breaking down those words and giving you my top tips on how to listen to EQ and where to make changes,
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Having trained ears is key to making great music. It's a gift once you know😎
Having ears that work is a great key as well. I suffer from tinnitus so my ear training days are over. Mix while you can my friend.
This is such a great tutorial. I know all this stuff, but it's such a great explanation, with the words laid out to describe the bands and stuff, it actually feels like I'm still learning something. Top stuff mate
Love that your videos are straight to the point. Much appreciated
Streaky I am super grateful for your content. I really appreciate you sharing your knowledge with us. You are the man.
Another great vid.. learnt so much from you.. watched all the videos this week.. now iv gotta try and remember it all
Thanks Streaky, your content is second to none. I enjoyed this perhaps more rudimentary tutorial. I've only been doing home recording for 3 years and I still struggle to discern some of the more complex subtleties you address elsewhere. Great stuff, cheers.
Thank you so much! It was great to hear the word, hear the frequency. Might be the first time I've put those together so readily. Beautiful!!!
Brilliant tutorial again! I learnt to mix on analogue desk. It's good to refresh and understand the decision making process.
Additionally, I often hear that 400-600 Hz dominance is called "Boxy". So it goes like boomy, muddy, boxy, present, harsh, sizzling. It doesn't really matter as long as we get the job done and if we're able to explain the issues. :)
Your channel content is really awesome!
Great to learn common phrases used thanks! I’d love more like this
keep it as it is ! btw I love soundgym since I discovered it. Glad I see that it's recognised by a pro mastering engineer
This is great info Streaky! Thanks
i subscribed 2 weeks ago. and ouff my god. what an amazing stuffs in your channel. thank you to doing this. i learn so much!!
Thank you very much , its what i needed to learn. Plus plenty of valuable information on this channel.
Lovely. This is what I would like to have been taught starting off. Thanks,
This was really really good. Worth rewatching
Another brilliant quick lesson 👍🏿👍🏿👍🏿👏🏿👏🏿👏🏿
You have the knowledge and pacient to teach us thanks, great channel!
Love ur vids learned so much tracks are sounding better 👍
To be honest this is the UA-cam channel I’ve been searching for. I’m so happy I found you.
No need to go look for a course or any music class. This is enough to be my schooler 🙏🏻
Thank you so much for sharing your knowledge
Thank you for the work you do!
Brilliant thanks, comprehensive overview
Best explanation i've seen on these "sound subjects".
This is zatly the kind of videos I like to watch! :-)
Thank you for the videos !
Brother you are a life saver I’m starting to learn more about sound engineering thanks to this video subbed easily ❤😊
Liked on ‘welcome back...😁
Thank you for the valuable class!
Thank you for sharing!
Thank you for giving us 25 years of your experience of music in your channel Its great I am Really Thank full to you for every video that you uplode on your channel
i like the waye you explaine :) you help me alot to understand some things i didint really understand befor
🔥🔥🔥❤❤ thank you!!!@ subscriber indeed👍🏼😀
THE channel that doesn't fool hobbiest like me with silly tricks and wooooooo bolox .
Hi Streaky, great videos!
I always struggle with the real highs, like the infamous 909 ride for instance. Not sure how to leave or treat it on a pre-master. Thanks and keep them coming!
I must have worked with me ears before. I knew thin - muddy - dark - bright and brittle. I finally know tizzy. Thanks a bunch.
Excelente!!! Gracias gracias gracias!!!
Took a screenshot and saved. Thank you sir!!
Video idea: How to achieve commercial standart quality sounds in mixing phase ( even before mastering )
Beautiful video
How to remove boxy frequencies in a vocal
yes longer videos streaky
You good sir are the man.
can you please make a video on stereo imaging, and when to use it? loving your videos
We want more "mastering videos", thank you for sharing your knowledge 👾👽
Hi Streaky. Good video to give people a good overview of all that buzzwords typically used to describe EQ situations. A great addition would be to explain the correlation of the bands. For example, if you change the 60hz region, what happens in the 6khz region. It's a most important lesson to learn that every EQ move also interacts with a lot of other frequency regions. Too much boominess? As long as this isn't a build up of several different instruments, a mix might have too few highs. I think learning that concept could help a lot of people to make better EQ decisions. Cheers
nice one Streaky, I haven't seen this conceptual division on EQ on youtube yet, had to learn it from experience! Though I'd add another distinction: 5k-10k, for me at least, is sharp/tizzy/dull, while >10k is bright/airy/dark
Thank you for your videos. It is great, what you are doing. As for me, I want to see more mixing tips, opinion about new plugins, what is number one to buy, and what is unnecessary to use. Thank you again
I think that "basstrap construction" video would be a fun project :) I'm planing to buid a few of those myself soon..
Great video, Streaky. I'd like to know more about using multiple instances of compression (and what type: transparent or another) on the same track to create the punch I can't seem to get. Or if I'm heading in the wrong direction with that approach. Cheers.
I have trouble eq’ing cymbals - in particular ride cymbals. Would love a video about that. Thank you - GREAT stuff!
Hey Streaky! Dutch DJ/Producer here! Love your content mann! What I would love to see you making a video of; In which state of processing you send your project/track to the mixing engineer? And how much processing is being regarded as normal? What is the normal approach and workflow from composing and arranging to master! Keep up the good vibes over there, thanks for all the good vids
👍👍👍👍👍👍Top Info. THX!!!
...you've got me thinking now, if you do get the time, I'd like to hear any pre-amp recommendations you might have; in particular, for drums and bass...thanks. 🤖👍
So useful
Finally someone explained the q function
Excellent explanation which will surely last the test of time a la UA-cam. I listen and have learned valuable information which I have successfully applied from many of
your presentations. Much appreciated!!! I just realised that i was not subscribed so I just remedied this and have shared!!
Thanks!!!
Cheers anthony 👌🏻
@@Streaky_com
You are welcome Streaky. I am working on committing your advice and techniques to habit. Developing a natural workflow in this way is as good as gold! Thanks bro!
Hey Streaky, another fantastic tutorial thanks for sharing such knowledge and value.
A tutorial on emulating analog summing ITB on stems would be really helpful.
Loads of companies selling ITB summing solutions at the moment such as UAD Luna, Slate VCC, Waves NLS etc.
Do you know a decent way of doing this in Logic? Followed up with your insight on stem mastering would be awesome.
Thanks again - always recommending your channel to my production students. 🙏🏻
You are the best
As usual a great tutorial. Can you post a graphic of the eq chart of the bands, as you show in the video? Pleeeese!👍😎✌️
NIce , thank you. Short & comprehensive..
I'm learning Livemioxing since 4 years now.
I'm used to steal some frequencies from the keyboard ( i attenuate them )
to give the vocals more space. Sometimes, i do this for E-Gitars too. :O
Mostly in the range of 250Hz -800Hz.
But -i often use a shelffilter to give the keybord more brightness ,
if i start at kind of 8k-9k . It'S every time different.
But, it often worked very well.
ON the other hand, i give Vocals a little more Space ( 4-6 db) in the Range of 750 - 2k4 and more,
often it depoend on the location i Mix .. !
This lets them always shine brighter.
Male/Female very different..
Clean.
Wassup Streaky! I'm new to your channel but I definitely found common grounding your video to improve my mixing! I just would love if you could touch on UGLY frequencies in between those Vowel groups!??
Hey streaky, love the videos, your tips have helped improve my productions! Video suggestion, Would love to see how you tackle mastering a rock / metal track (dealing with the low end / mids/ highs, getting creative etc). Also another idea to help you grow your channel, have you tried getting an interview on warren huarts channel 'produce like a pro'? He often has people on that have done far less than you! Just an idea :) take it easy and all the best!
Can you make some tutorial for heavy metal mixing ! You have great videos 👌👌
Wow soundgym is really good! Apparently I am great at telling dB differences, not so great at identifying frequencies or panning
I’d like a good in depth overview of how to hear when needed and why and when to use dynamic EQ :-)
(Multilple) MS compression techniques for e.g depth, widening etc! I’m trying to figure out the Elysia Alpha comp. :)
Hi unstoppable Streaky. Nice 👍 one again .
If possible I ll like to learn trick on staking limiters to keep the maximum impression of dynamic when mastering. Yes it a bit of an oxymoron, but I guess you have the idea. Have a nice weekend 🍻
You're so cool. So cool.
Idea for a video: when you master an album or an EP, how do you balance the relative loudness of the different tracks?
I love ur chanel,
U are really an expert...
I would love to learn how to set a channel send, that contain a reverb vocal,
How to clean it,
Put an automation to it..
Streaky! Thanks for you content! I would love to see a gain stageing tutorial for trap music. What level do you export for master and what dynamic range is required for the mastering Prozess (for example ozon8)
And I forgot. When I gain stage, suddenly my limiter does squash all together so the level difference from the mix is not preserved. How to you approach this
@Streaky Could you make a video about how to move vocals out from sounding muffled and mono to brighter and more stereo?
Please do a video on free plugins suggested for beginners for the mixing stage
Curious to see a video on your thoughts of using soft clippers or something like the Sonnox Inflator.
I’ll do a vid 👍 sonnox has a deal on this week 💪🏻
I would like a video about eq and compression of Kick and Bass
Could you do a video on the best way for a mixer who is mastering their own stuff to monitor their master? I think a lot of people who watch your channel are in that position where a mastering engineer isn't in the budget and maybe our speakers and room are less than ideal. Maybe there are some tips and tricks you know to get the most out of an unideal monitoring situation?
maybe you have something like this and I just haven't found it.
Sidechaining in ProTools, like the one you did for bass and kick in Logic
Btw the only 2 persons on youtube i watch videos are streaky and cla...for what its worth...
Hey man, I have a suggestion for you. Can you make a fxsound eq beginners guide for music, movies, and gaming, etc.
Dear Streaky, I am a new convert and subscriber to your mission and philosophy -sharing your vast knowledge of music mixing and mastering. I’m recently retired and now have time to devote to my passion of song writing and music production. You are a part of my journey and I am thankful for it. I look forward to your future installments.
can you show us a session and your routing,busses etc/ and how you start a mix and tweak IT OUT ? TY
Thanks mate, I'm trying to understand EQ more and this really helped. I'd also like to learn more about the Mixbuss chain, what's the best order for plugins in the chain and why these are in that order etc. Cheers!
Maybe I can help with your question! I'm not Streaky though, so I guess my answer will lack the "hype" factor. It will, however, make me feel good nevertheless! :)
Also, I can assure you it is an accurate one. No problem!
The double punchline (your choice which one you prefer): Your question is meaningless. No, it is not stupid! Just kind of... pointless. There is no best order of plug-ins on the mixbus chain (and any other bus or track in that matter). Every single effect chain you put on your mixbus is the worst and the best at the same time. Why?
Because there is no such thing as 'best' in audio. Never was and never will be. At least not objective best, since everything in audio is as subjective as it gets. The reason is obvious - preference, both you and Streaky are different people with different taste and different outcomes will get you to think "this is the best!". Another thing you should remember is that every mixing situation is different and presents a very unique set of challenges, therefore it requires a different set of tools.
In audio, every single change you make will affect every single change you've already made. You can even write down every decision you made when mixing a tune, step by step. If you then apply this exactly replicated method to another tune, the outcome will be completely different! Do you know why it is different? Because you've never replicated anything! :D
I mean, you did. You copied every single decision in the same order, step by step from your last mix. The problem is that every single decision now has a new meaning. This is what engineers call the context. In audio nothing is a must, we can only talk about common practices and intentions. The audio signal does only one thing - it changes. Your job is to influence this change, or in other words - to change the change. This gives you a situation called 'response'. It's all about getting it to respond the way YOU LIKE. The closer you get and the more you like it, the better you are.
Yeah, I know... but think about it for a moment!
And hey, don't worry, I will not leave you empty-handed. My best bet to help is to share common practice among other engineers with mixbus (and all other buses)
Audio bus track is commonly used to achieve an increase in "togetherness" of audio tracks that are being sent to it. So one way of thinking about it is that it is an empty track, a container where you *add* ingredients. This container can have a property of increasing cohesion between whatever you put in there. In order to do this, you need to transform it from being just container into a *summing* device. You can achieve it simply by inserting audio effects on your bus. These audio effects will process many ingredients all at once, therefore the ingredients now share the fact that they all have been changed the *same way* and/or at the *same time* - they now appear to be more together. Almost any audio effect will change the container-bus into summing-device-bus but as you might've guessed by now, some of them tend to increase the cohesion more than others. Many will make things sound 'together' yet the method they do it with will not sound good to your ears for some reason, others will completely mash sounds together in such a way that you will not be able to distinguish between the ingredients anymore. Make them sound however you like! If you don't know what you like, then choose what feels good! Still unsure? Then just pick any! Remember there is no such thing as good or bad in audio.
Examples of types of effects commonly used on mixbus:
- Compressors - (if for cohesion - achieves it through a change of the gain level (volume) in time and is one of the primary tools used to make things sound more together but can produce both good and bad sounding cohesion (aka. glue))
- Harmonic distortion/Saturators - (if for cohesion - achieves it through so-called "shared harmonics" and/or intermodulation. Good analogy could be: imagine having two completely different paintings made by two different painters. If you take for example a marker and decide to mark both of them with a few small lines that are exactly the same on both paintings effectively obscuring a small bit (staining, painting over, so distorting), then somebody else looking at them side by side and seeing this similarity can assume that both paintings belong to the same person, or at least were changed by the same person through adding a similar-looking mark to the originals. If you then go berserk and scribble all over two paintings with a marker, the scenes they picture might become so obscured, destroyed and distorted that they become unrecognizable and both look very similar - like a mess of marker lines. Scribble even more and eventually, no one will be able to even tell the difference between the two, since we ended up with two pitch-black squares! (Equivalent of the noise in audio)
@@dantei.1194 Hey Daniel, thank you! Yes please would appreciate it :)
@@djsoulsongs I'm Damian, and the explanation is in my answer in that comment, in case you missed it. Click "Read more" underneath to see the entire message.
@@dantei.1194 Hey Damien, sorry the 'read more' was obscured in the reply box! Now that is what I call a great reply! Definitely no hype needed ^^ Thank you for taking the time to explain that, the 'related story' really helps put things into perspective. It feels the more I learn about mixing / mastering the more I realise that I need to learn more :) However, as you said with music everything is subjective and it all comes down to what you hear. I've been learning this whilst in furlough / lockdown and am trying to put everything into practise in a song that I've done as I want more control over this side of the process, do you accept mixes to listen to? (Would love to hear what you think of the mix) Thanks again! :)
@@djsoulsongs No problem! I often find myself digging in the aspects of audio deep, deep down to the basic laws of physics, while explaining everything to myself until I actually understand it. From the experience I know that the audio can be a daunting subject given the way we put into practice logarithmic nature of sound waves (which is an abstract concept in itself). Now combine it with high subjectivity (musical taste) and countless other non-linear and non-universal factors and top it up with abundance of myths that already exist and are the effect of above mentioned. It’s pretty complex and my mission is to explain it to others in such a way that even without knowledge of physics or advanced abstract thinking the person will be able to understand it in detail and become empowered and ready to decide what is the best possible option for their music. Plus I just like helping people ;) And yeah sure, hit me up with whatever you want me to listen to and I’ll do my best to give you some constructive feedback. You can find me on SoundCloud, or on Facebook under the same alias as here “Dantei.” Or contact e-mail, which you can find in the “About” tab here on my UA-cam channel account.
Glad I could help!
At least 90% of producing, mixing, and mastering is listening, right? It's so interesting that I see so many tutorials on plugins and tips, but very little online with blind A / B ear testing comparisons. Multiple choice could also work. You can do different lessons on compression, EQ, etc. Play a signal (i.e.: drum loop, guitar, full mix) and see if we can guess which of A or B is compressed, or to what amount (i.e.: -2dB, -6dB, -10dB, etc.).
Ear training is one of the most important parts of what we do, and it takes the longest. There's no shortcut. We've got to put in the time to understand what we're listening for. I'm 14 years deep into this stuff, and my ears are still developing to better understand compression. Get a head start now. And having more of these ear tests/training vids on youtube is not only good to see where you need work, but also as a way to come back a few months later to monitor improvement.
review the dynaudio core monitors. jk, but for mixing techniques- i'd be very interested in seeing your approach to building a balanced mix from scratch or maybe stem mastering.
Cool will do 👌🏻
I would like you to show us how and when you use exciter on mastering
Quick answer - I don’t 🤦♂️😂🙏
I would like to see how you use the real Weiss EQ1. Thanks
Do you have a video on: Building Clients as a NEW Mastering Engineer?
If you haven’t already. Please could you explain what you do to master for different formats. Do you make a print for Vinyl then another master just for CD, just for Spotify, just for apple or Amazon music etc?
Streaky, I am mastering a mate’s album. There’s a mixture of “loud” and “soft” songs, ie. dancey stuff and some ambient stuff without beats/drums. Any tips on how to master the quieter stuff and keep it consistent with the louder stuff? It’s easy to master tracks with a full frequency range, but a bit tricky on the tracks without low end. Cheers!
Imho, you shouldn't level them flat. I'd approach it this way: let's split the album into two groups of tracks, each with different loudness level; Softer/Atmospheric (the ones with no drums and with content focused on the upper part of the frequency spectrum) and the second one - Full range dance tracks. I'd prefer the first one to be mastered more dynamically and aim for lower loudness, while the second one louder and more squashed. For example, it's not uncommon in many genres of electronic dance to get the tracks as loud as 10 to 9 LUFS. (which, IMHO, is extremely loud if compared to other genres) I'd personally aim for ~11-10 LUFS for the louder group of tunes (Btw. normalization kicks in at >12LUFS - which is a sweet spot for UA-cam, >9LUFS for SoundCloud etc. - keeping it in the sweet spot for a given platform guarantees that the final master will not be changed after the upload). Keep the quieter group to be, let's say, 1 - 2 LUFS lower in level than the loud group. Use your ears and if something sounds glaringly off for you, if the difference between consecutive tracks appears to be annoying or dramatic, you can try for example tightening the bass of the louder track? There are many options. Plan ahead! If there is some point in the album where for example the loudest track is next to a quietest one, try the point-targeted solution and maybe try to lift the quieter track a tad and monitor closely, if it starts to break but the artist finds this order of track important, try to introduce the change in loudness progressively from track to track - after you have all of the tracks mastered to where you believe they sound best, consider skewing it a bit and, for example, for 12 tracks album with a dramatic moment at 8th to 9th, leave the first two or three one at originally mastered level, and then let's keep lowering the loudness readout of tracks from 4-8 by maybe 0.3 LUFS or 0.5 LUFS - this way the listener won't notice huge loudness distance between 8th and 9th, since you'll have 8th to be about 1.5 LUFS to 2.5 LUFS quieter. If track 8th sounds weak without high loudness level, adjust the rate of loudness change.
Any chance you could do a video about limiting and how to get the right final output level?
Watch my training - link in description I go through that in detail 👍
Can you give some advice or an authoritative manual to read on how to equalize the the 600-900 hz area on instruments and mixes in general? It is very much overlooked. What do you rely on in this area, is it a taste thing or you reference other tracks? And the second question is how do you generally allocate the frequencies between the two tracks, overheads and room, as both of them have harsh frequencies, both of them have boxy frequencies, etc. On which of these two tracks do you cut muddiness or harshness, and to which of these tracks do you give priority in those subractive correction cuts?
Hi streaky, thanks for the video!
I was wondering whether there is any EQ plugin that would enable me to modify how my studio monitors play music? I use Scarlett interface and I struggle to find something that would allow to achieve that...
Thank you in advance!
Do you have a video on how to EQ sub bass, or synth bass so that you can feel the low end but not blow out your ears
hey loving your vids - heres a question more focused at mixing - what is the general place in house and 4/4 music to sit the kick at? recently ive been doing -12 - i notice i get into trouble by having my kick to loud when im writing and i'll even finish a mix and realise that although ive been loving it the kick is detracting from the rest pf hte song
It's no good to tell you any number, because two kicks hitting at the same level could be perceived to be at different volumes due to things like dynamics and harmonics. I recommend turning the kick down until it is too quiet, then bringing it up slowly and conservatively until it is at a satisfactory level.
How to make bass traps! :)
How about a video showing how to Deal with limiter distortion. For instance if a track needs to be pushed through a limiter very hard to reach ideal RMS levels, what are some tips and tricks to Be able to push it very hard through a limiter without getting distortion
You shouldn’t need to if you have mastered it correctly...take my free training and you will see 👍
THis video was so good I had to give him a thumby in the bottom
Awesome tutorial, very useful. One topic that would be interesting is how to compress/limit a track to be very loud but not sound distant and not over compressed.
Use saturation to reduce the distance between RMS and Peak for your track (Crest Factor).
@@raybeeger1529 that's a good tip.
Sorry, if you already made a clip about it and I missed it. Mastering engineers talk about using multiple limiter and clipping instances in one chain and not only one at the end. Can you give us detailed insights into these procedure? Thanks in advance!!:-)
Pls show how to mix Low End 🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏