Okay, here we are on our lead vocal, and this is what it sounds like. Let's take it from the top, you can see that I've done it employed a high pass filter here, and if you've known anything I've been talking about with EQ, is that a lot of this is taking out a little bit of boxiness and adding a little intelligibility up the top and that's exactly what we've done here. Let's listen to the vocal without EQ, let's not flatten it comes up in a couple of measures. Here we go. Since the day your heart was open, and you willing to believe the greater love was leading your, your heart to mine. So look at the lowest frequency as we share.

It's already there. Inside of See, that's the fundamental right there. If you start looking at the spectral windows, you really start realizing what's going on. Like if the melody is kind of hovering around here and it goes inside of us, right there. That's what's going on. Probably the lowest I'm hitting is probably around 100 hertz, like that.

That's why a high pass filter works really well but there is a bit boxiness there and I do like to add just a little bit of top end, a little bit of shame. So let's listen to this flat and then we'll add the equalizer. Now one, no, it might be tough, that's dropped in to lay your heart rate on the line. Because now I know you've had your share of hurts to skills long, really muddy muddy, so I just scooped in now the day. You got to trust someone cost all this. Let's take it all out.

So let's listen to this in the context of a mix. Look into my eyes. See don't think I've captured your heart and then no God so it comes in right about now. Let's see that part right there and then let's hear this with just the vocals. I'll just close this up and we're going to solid just all the vocals and then no you got mad A couple of things to note from that is that you can get really hot. I thought it was nice.

If I tried to do it now it'd be really, Nah, I don't know, I didn't even even get to hit it. But if they're low enough in the in the in the mix. So amazing things happen. I don't know whether you guys really get into doubling and tripling vocals, but it's a great way it can make you sound a whole lot better than you really are. This is kind of off topic was funny. I was going to my daughter's musical the other day.

And it's amazing how there's probably 150 kids there. None of them can sing a lick right? But when you get them all together, something kind of magical happens is that you can actually discern and And they do actually sound in tune. So there's something that kind of goes on when you have a bunch of vocals together. It sounds better than just a sum of the parts if you don't I mean, another thing to note is what kind of microphone was this? If you've seen any of my other training, you probably shouting out out the answer because it's not an expensive microphone.

Let's listen to it. Ah. Now I know it might be tough to lay your head right on the liner, because I know you've had your share of hurts along the way. That microphone is under 100 bucks MX l v 67. g. You know, I can certainly afford to go nice and Mike but you know, when when I think I'd have to spend $1,000 more to get something appreciably better certainly with within a mix and then listen to it within the mix. Just share along the way but at the end of the day you got it. I mean it sounds sounds pretty decent.

Maybe there's some hate con that's you know snobs who like all I'd never use a microphone that cheap well, thing is I'm not you know I'm not a professional songwriter i'm not i'm I make these songs just for fun. I enjoy recording songs. And you know if you can get away with something like that. Yeah, that's a pretty decent is probably a you know a better mic than that than has been used historically on people who were spending lots and lots of money on mics. There's certainly some tried and trued microphones that have been around forever, you know are expensive AK a, you know, AKG 414 a nominee ready seven, some Telefunken things like that. But for the most part anyway, I feel like I'm rambling here.

Do you get the idea? You don't have to have really expensive stuff. That guitar was a Epiphone the, you know, the guitar amp wasn't the most expensive guitar amp in the world. The bass I spent a bit of money I was 1500 bucks, I would say, but hold on Mike, you know, you can get good results. Certainly, if you start recording with real jack, then you really do have to start eating a lot more and you know what, it starts sounding pretty bad. And now before we leave this area, let's look over at this EQ echo.

There's a part within the bridge where I have a, an echo of just at the right time, I think I say here So you can see what I've done, I've just copied that little piece of lead vocal there. And there's drop down another track and then just dropped it back a little bit. So it is an echo. And then another thing you'll hear about it, it has that radio quality, which is a no you know much about original am radio. I mean, the bandwidth of a ham radio is really amazingly small. When you think about it's like probably two to four or five, maybe five kilohertz.

And so that used to be a horrible thing. We will move to FM in the 70s and everybody loved it and but like in life, typically, people have been very nostalgic ideas and feelings about you know, old sounds. So there's kind of an effect that You can put like an am radio effect that you can put on there. So what I did was, like I said, copy that onto a separate track, and I called that EQ echo. And let's look at the EQ there. In fact, let's open up, bang, all it has is from probably about 500 to about, you know, maybe three cases like that.

So it's boosted up and everything else is backed way, way, way, way down with these. These filters in there like that, in fact, I don't think I've employed the filters, if I employed them that might even help help things out a little bit more. So you drop the filters in and then you basically boost that area and then cut it out. So we're just hearing this really tiny slice, let's solo that track. Actually, I'll solo the lead vocal and then you'll hear that Echo, come through it and then echo remember how being heavily EQ is what it sounds like Elon to step back a bit that you fell into my arms just at the right time, right. So let's hear that in context.

There's that crunch guitar coming in looking at the curve Cool, so I suspect you don't want to overuse I just use at one time in the song that I mean, there are other in some of the tips and tricks. At the end of this training, you'll see some other ways that we can do specialist EQ like this, but that's basically the song. There's not there's no EQ being used on all of the loops. The internal keyboards, no EQ is there, a little bit on the bass and the guitars and then the vocals are basically just was the lead vocal. Let's look at that again. What do I do just roll off a pull down a little bit of boxiness and an added a little bit of sheen on top and I probably just copy and paste that across all of those vocals.

Again, use as many vocals as you can. But if you are going to use a bunch of them, then you might want to put a gate on them if those mics are open, or else you can cut and paste like this echo here is just this part right here. You Getting cat all the rest of that stuff out. Got brought up another song here. I'll just briefly go through this because it's pretty similar. I did all the recordings so the instruments are very similar to what was in the last the last song I've set up the bass guitar again actually let me go back here the drums there's a really nice third party patents are nasty party it's actually a from propellerhead that has a bunch of really nice drums I'm trying to remember what was it crate instrument track was a reason drum kits.

That's right, and they have a really nice set of drum kits. Let's just have a listen to this. I haven't issued anything on here. I'll probably add a little bit of verb to individual instruments a bit later on. But just listen this from the top. No each No, not so big drum sounds just right out of the box.

Let's move over to a bass guitar when a solo that and bring it up and you'll notice a couple of things, no high pass filter. We've juiced up the bottom end a little bit. There's a little bit of boom Enos around Where was that? Probably around four or 500 k was it yeah 500 K, that might be a little smidge lower there and then just to bring up a little bit of string noise around two and a half k that will just make a little bit brighter to kind of cut through the mix. So let's listen to both of those together. That's a bit of an intro bring up the acoustic guitar.

Now this was an evasion guitar from memory, one pickup straight in there. So let's see what we did in terms of this acoustic guitar. Probably warmed up the bottom Actually, let's push up a high pass filter on that. And we'll bring it way down. And same thing over here. Whoops, I'm hitting the wrong one here.

Okay. acoustica tattoo. Here we go. Okay, and then this one here, kind of the same thing. So let's have a listen to this in context. What I've done is this double track played at 170 a pan out.

Remember there was some EQ on board on both preamps on those elevations as well. So this sounds pretty good am radio sound at a time you can just use a high pass Now this was a standard piano that came in, it just adds a little token. This is a pretty basic song. We basically have basic A couple of acoustics, a distorted guitar. There's another sort of guitar that comes a little bit later on the song piano there's a bell right at the top. Let me hit that straight from within reason so I'm not going to be doing any EQ on that.

Let's go ahead look at the vocals he's a lead vocal here pretty standard fare again high pass filter. We roll that off taking a little boom Enos there and a little brightness on there. Let's hear what this sounds like by itself. Can I be there next to you. So you can see there's the melody Robin Ah, hold your little hand. For never let it go.

Well, I hope you'll understand and notice one thing is every time I release a note a low low energy a better not below, drops in. It's just kind of interesting to see that happen. Phase as you wander your path that one favorite Schmeling from you cannot be every time you exhale and let go of your vocal cords. You can get a lot of stuff down there and if you have a number of vocals that are all doing the same thing and you want to, you know, work on that a little bit, you might want to start bringing this up a little bit. In fact, a good thing to do sometimes is just to roll this up and then listen to it in the mix. Like let's listen to this in a in a mix.

One thing is all get out right A good thing to do is start pulling this down. In fact, not even turning this even looking at this visually, but to start bringing this lead vocal down a little bit until you until it sounds Wait, wait then right. Can I be the next one and let's see where we are. Yeah, round it hurts. So really that is the place you've got to have your lead vocal. If you bring out any high, it's just going to get really, really thin.

So once you're happy with the way that sounds in this lead vocal, just like we did before, I would then copy that filters and effects and then go through all these ones and I would paste them. Paste and then hear all of these vocals together. And of course, I mean, you can go nitpicking, some of these are you know if this is the the lead vocal that limited springs back over here, if this is the lead vocal here, I normally double a vocal, and then just bring that down. I don't know about six to 10 db, so you really can't hear it but just adds a little fullness to the lead vocal, but then I think I have like a third and a fifth. So that fifth could be you know, significantly high. If you really wanted to go into it.

You could select this track here, whoops, select this track here, and then you could raise the that edge of the of the high pass filter. I'm not going to get too into that right now. But let's just listen to how this sounds with the vocals with all the harmonies. In fact, let me just solo all the vocals so we can just hear them without music. Can I be then to you the homies coming now cannot and never let it go well, I hope you understand. So you know a couple of things from here this is not a parenting tutorial, but just while I'm here, it's what I normally like to do with vocals it can be the same these are the same harmony.

So cannot be cannot be the next you cannot be the next to something like that would be both these are just double them Paramount wide. And then could it be could up could I be there next to you. Something like that. Then you could put that out here, double them pan them out wide. And again, you know, once you stack a bunch of vocals together, it just starts to sound a whole lot nicer. In fact, let's do that with a whole band.

Can I be the next In fact, in a mix, you could probably smudge these up a little bit higher. I think there's some there's a bridge here which has some overlap, but cannot be there next. Yes, a little bit further past here. Probably around seven, eight. Can you cannot be the next the play that again I'm going to select these tracks and see what's going on. spectra Don't worry about the qubit to see what's going on with these vocals is a brand new day really high brand new day These the high ones that I beat yesterday yesterday a brand new day just began.

So what do you think I could roll those off pebble look at them again. Yesterday a brand new day just began. So again, that's the that note that how many right there is probably around 300 hertz so I could definitely roll this back because you can see this still some energy down here. A lot of junk down there. Up Because I don't hear any difference, we haven't lopped off the bottom part of that vocal there and then in the mix that should be a little bit cleaner. random data cannot be they cannot Of course you do all sorts of automation there with tracks that are not playing there.

You could, you could record automation, bring them all down, and so on. Pretty cool hot you now know exactly how any EQ works and armed with the information We learn in the EQ and action section you can solve any EQ problem in a heartbeat. dislike that. Now remember that EQ is best used sparingly, try to make adjustments at the source. with things like mic position, choose the type of EQ wisely. And also that EQ can be used either as corrective measures.

Or you can use it in all sorts of wild and creative ways. That keep in mind that adding the same favorite bump in a certain frequency range across all of your channels can really add up to unexpected hotspots in your mix. So don't go too crazy with EQ right. Now, before I go, I want to thank you for your time and congratulate you for adding to your solid understanding of audio principles. I really got to say that you are probably in the top 5% of all musicians or audio engineers in that you actually got through this course. So many folks net you know, invest in a lot of this stuff, but a very small number People like you actually even crack the course open let alone get this fat so you've done really well to this fat.

My name is David was just remember that you can download your very own EQ cheat sheet from our websites poly SHINee on the camera, but if you go to appropriate DVDs comm you can download this cheat sheet it's a great way to really take what you've learned and just have it in the handy sheet. Like I say I have laminated this one but you could even frame that in your studio wall. It's a great way to go through this stuff. Thanks so much for your time. We'll see you next time on Protea DVD training courses. My name is David walls and Ciao for now.