Of course, knowing all the theory is one thing. But nothing really actually happens until we actually start using these tools, right, so let's take every instrument that you're likely to come across and break them down into the frequency ranges that you really need to be aware of. And more importantly, what we can do to make every sound you have sound the absolute best it can possibly sound. So now that we've seen a couple of examples of how we've actually gone in and found these frequencies, to save time, because we're going to go through a lot of tracks here, I've basically preset up EQ for each of these tracks and we'll explain and listen to the various bands that I've chosen. And to help us kind of trying to hear and understand why I chose these areas. What I want to do is just boost up each band and you better hear them Pop their head up, and why we boosted them all, we kind of hid them.

So let's start out with a kick drum rather beginning. And here we go. The first one was the fundamental of that kick drum. And let me say one thing on this particular kick drum, it was around 75 hertz. There shouldn't be too much variance between maybe you know, 60 to 100 hertz. Remember that frequency is exponential, it doubles every octave.

So it kind of sort of being a linear like this, it kind of goes straight up like this. So in the lower frequencies, we're really looking at a difference between 60 to 100 is about 40, maybe 50 hertz, of where that fundamental will lie in the top end. You'll be scanning around thousands of frequencies like the difference between 12 K and 13 K, really not that much. We're talking about just the difference of, you know, 50 k down here. So really learn particularly these lower frequencies if you're going to start out with Learn these lower frequencies. And let's have a listen and we'll boost this up and listen for that.

That bottom man, that thump of that kick drum. clearly that the low end of that of that kick drum, all that thump, all that energy that kind of hits you right in the chest, you pull it out, you have a very, very simple kick drum right. Now, the next frequencies, I think the band I went out to was the boxiness, around 320. In this case, right here, let's boost up Have a listen. Quite flapping. I mean, there's different people describe it in different ways, but it's just it just sounds very kind of unstable and very cheap and nasty.

So just pulling that out a little bit, does a couple of things. It hides that box in there. Plus, you know, one man's boxing might be another man's fullness, you know, on a different track, maybe a guitar, maybe a vocal around 300 hertz might just bring a little bit of warmth in there. And that's what you've really got to look at, you know, on a per track basis, but if something else could do some boosting, they're scooping this out on the on the kick drum, we'll give that a little bit of space for that for that wantonness of another track then the third one was the smack of the Buddha and I said this before that this gives you a perceived much louder kick drum without having to move a lot of air down in in Logan I might add that up maybe around three. Okay, so let's boost this up and have a listen to smackers beta.

Pull it out. It's a very doll that will not cut through a track a little devil Do you kind of like a ride about there? So that was the kick drum here, then we move over to the kick out. And that's just another way to make a kick drum. Let me just maximize that a little bit. Okay, so this one right here.

Now you notice that I just have a compressor on here, just to tame that a little bit. But I haven't put any EQ on there quite often, I won't put EQ on this, let's just solo this. This is something that's almost more felt than heard. And clearly, if this was your kick drum track, you know, along with guitars, bass books, not that this would just wouldn't even cut through, you know, compared to compare that to this track here, just two different microphones a lot more attack there. But you know what, down here, there's some warmth down there. I'm gonna solo both of those.

I'm not going to EQ this, but I'm actually going to use The mixing console here as a way to kind of mix between the two of here, here's the kick. And here's the kick out. So we'll pull that out here, just the regular kick. And we'll start mixing in the kick out. lot more low end on this kick out. I my inclination would be not to EQ this but just to blend it in to the regular kick to give you that, you know, that low end want from that just, there's a lot more energy going on down there.

There's no definition on this track. All the definition really comes over here and a lot of the low end as well but this just gives you A lot more low end without having to EQ this, you know, way too much. Moving along to the snare tracks, we have two snare tracks here, snare top snare bottom, probably a couple of sm 50 sevens on the top head and underneath capture at capturing the snares, and that the snap of those snares. Now, I think I have some teaching on this in the tip section a little bit later on, but let's show it here while we're mixing as well. I've zoomed in at this particular point in time and do you notice anything about these waveforms where this goes down, this goes up where this goes up, this goes down, right? And that that's something that typically happens when you put more multiple microphones on the same source because it takes time for sound to move through also, the the the motion of this of the hitting this top of the snare takes takes a few milliseconds to get through the snare, and then those snares to react.

Sometimes these can be out of phase. And if you learn anything about multiple, you're mixing multiple waveforms that are out of phase, they will tend to cancel each other out. This happens with, you know, the whole idea of humbuckers balanced lines. What else you know, a typical example is if you see a bunch of waves in a pond, if you make another disturbance in a pond that have waves that hit those crest to crest, or trough to trough, you can lose a lot of energy. Now here's what happens in the snare track. In fact, this what I did are put up a channel strip on the snare bottom right here and there's a little button down here tiny little innocuous button.

Let's face now let's have a listen to what happens when we have phase in and out and why we Add that to it. Okay, now let's do it. Okay, so let's have a listen to it. Where this would be, the way it would naturally be is that these would be playing in exactly the way they're recorded. Actually, let's solo these. Now let's switch the face.

It's just a channel strip on the snare bottom on a lot of mixes. You'll have this right there again, but just look for it to face which now listen to that snare drum. Listen to the bottom end of that snare drum. And have fun and milk goes down a better option. And so all that's doing if I go back to this area here, it just flipping the phase of this so that these can kind of build on each other rather than cancel each other out and a lot of that happens in the low end you'll really find that this is not per se an EQ tip in terms of you know, us using an EQ but the face which on things that are recorded with multiple mics can really help your recording out. Just flip that and you'll get so much more bought more bottom and rotten that bottom end being robbed and then you have to manufacture it some somehow with EQs.

A lot better way to get that low end back on your, your snare drum. So let's go over here. This is the first track here and let's see what we're doing. where it looks like we have a high pass filter. Now while we do that, is your snare drum generating anything below 100 hertz? Absolutely not.

And it's probably picking up a lot of bleed from the, from the kick drum also, maybe the bass guitars app is like right next to that, let's take that out. And you may not get to hear that in that so I won't, I won't drop that in and out. But let's go to the next one here, which is a little bit of warmth around 200 hertz. So let's have a listen to that. In fact, let's make that a little better by just sewing that and I'm just gonna zoom out so this isn't quite as distracting. Okay, so let's listen.

The low M and maybe just add a couple of DBS right there. Now I've gone over to the 4.5 K, which is more of a snap. That will certainly capture a lot, but I wouldn't go crazy with that, I think yes, for four and a half k, sorry, four and a half dv in probably the maximum, we'll do that. And then I have a showman on top of that at six K, just to add to the overall brightness, not too much, it's going to become way too brutal. So anyway, that's the top. Let's go to the bottom.

And here's the bottom here. Listen. I'm sorry, this this bottom right here, and I've just done a very basic one. Basically, as children, no sorry. It's much shorter than that. It's a peaking with a very wide queue at seven k which will be that snap.

And because this is kind of an embellishment of the snare top in the same way the kick and the kick out, we're getting most of the kick sound up here. We're going to get most of the snare sound from the snare top, snare bottom. I'm just going to brighten that up a little bit. And all of the brightness will add to the snare top will really be through mixing more and more of this in here. So let's add this and we'll go over to mix that's a snare top. You can hear those snares rattling out.

About that. Listen at the kick and snare two kicks on Okay, sound good. Moving on to our hi hat before I open this up, what's the first thing you would imagine that I would do on an EQ of a high attract what do you think? Absolutely high pass filter all day long. Take that off. I could even probably make that a little bit steeper and probably, you know, move that up around, say one cast like that.

Okay, so I mean, I know that the curve is there, but you can see that it's starting to slope off at around one K. And the next thing I've done is just added some shame along the top in here. Let's listen this hi hat. I might have taken it off a little bit too. Let's listen to the machine. Yeah, I mean, I can hear a lot of low end stuff going on when I drop that out when I, you know, bypass that. So leaving that high pass filter on adding a little bit of shame, that's really all I would do with the hi hat.

Let's bring these all in and have a listen. From the top. Okay, now it's done. That hi hat might be a little hot in the mix we could do that in the mix a little bit later on. So let's move on. Okay, so now we're moving on to Tom's right here and you would think he's playing Toms all the way through, it's absolutely not this is all bleed that is coming through.

So I put on a quick gate on here so that these thresholds and not making it loud enough and until so all this bleed is not coming through until it looks like the Tom hit right about now. And you can hear that kind of string there's a little bit more come through here. Okay, so if you're not sure how to use gates, look at the master class for compressors, limiters, gates, you really go through a lot of this stuff here, it's a great way to clean up this track. So we're not listening to all of this stuff. It's almost like an automated fader or automated mute button that is muted, muted, muted all the way here, and then let this get through. And so you can imagine that on a track that is pretty sparse, I mean, the only time you hear this term is there, there, it's probably I don't know, maybe a dozen times of like, you know, just a few few milliseconds, not a few milliseconds, but you know, like, maybe you know, half a second of that Tom going through the EQ on this is not something that I would put as much time into, as, you know, a kick drum or a snare drum, obviously.

But having said that, let's do this. And what we'll do is we'll set up a loop, I'll bring up the EQ on this one, and I'll set up a loop around this time here, and we'll play it So right here, I'll just add a little bit of warmth around 200. So you can hear that, that's probably around the fundamental of that. I don't know how big that Tom is maybe that's, you know, 10 or 12. And then we can add a little bit of snap up there as well with a pretty wide shell. So once you've done that, what I would do is if it's pretty similar to all the other times f7 mics, things like that, I would copy those settings, and then just go along to Tom to here, and let me just max him out.

And we'll put in an EQ there and then Oh, just paste those same things into here. The other thing is, as you start getting to lower Tom's, you might want to lower down this lower frequency to catch the fullness of those, because those times become larger and dynamic diameter, and if they're low fundamental, will get lower and lower down into this frequency range. Okay, moving on to overheads, and these are the, the microphones that are overhead, the, the drum kit, their job is to really pick up the symbols. And in this case, we actually have a room mic as well. So therefore, there's not a lot of the body that I want from here. It's really mainly the symbols.

And if you know anything about symbols, the bottom end of symbols is kind of non non existence and actually can be quite clunky. So what do you think would be the first thing that I would do in the overheads? Absolutely, you can see right here high pass filter, dropping off, dropping a lot of stuff off here, but then bring up a little around seven k just enhanced that with some listen. That sounds really thin. What I've done is copied that over to overhead two, I mean, once you've had both of them, you'll probably just pan both of them out wide in your mixer, but what you'll do is probably keep the same EQ. So if you've just saw at one side, got that to your liking, if you're able to do this in your da W, just copy those settings and then go out to the other one.

And then you can paste that and then everything should be in the ballpark. So this is what listen sounds like just as is very thin, but bring that in with everything else. Now I haven't done a lot with the mixing of the of the actual, all the tracks if you go down here to the mix and his overhead one and overhead two, in fact, we should pan them all the way up and listen to that. Then we can start moving these a lot of these right at Unity right now but you can hear how the mix is really starting to get cleaned up with the use of EQ. Now in addition to the overhead mics here, we had another microphone pointed right at the ride. So if there's parts in the song where the drummer is just wailing on the on the ride Bell, then we can capture that they're actually in this situation because there's so many times when it's not being used, I would trim up this track so we actually not even using it and then zero in the parts where he's hitting on the ride.

And then each you for that point. For the most part, I would just be taking the curve that is from the overhead and bring that over to the right here. But there are some times when maybe there's a clunk of ride bell that you might want to certainly pull out again, just narrow down that cube, boost it up and then take it down. Let's move on to the room mics. Now the room mics, a mics that are placed a bit further away from the drum kit to pick up the sound of obviously the room, the reflections and whatnot. You're not going to get a lot of definition in here but can add some body to to the drum tracks when you mix them in with all the close mics.

So let's have a look at the EQ right here. The first thing you will notice is that I've added just a little bit of high pass filter here to roll off those lows right there and I also picked a place just in the low mids around in this case 430 I was just kind of scooping around there. Let's have a listen is what happens when we boost this up kind of a boom Enos there. If we just pull us out there just a little bit out there just add some definition not so much here but when you listen to everything have listened to now. So it just gives you some of that natural ambience and I would probably bring that down a bit in the mix that this is just to say, once you roll that up to the high pass filter and then just take a little bit of that boom Enos or that boxiness out of there, then you can go ahead and copy that depends on how to do that in various Da Ws but normally there's a there's a way that you can copy the settings of EQ from one track to another.

So just copy that there and select the other room and then you can go ahead and paste that and I'm not sure that's been panned out as well with the room not let's bring that out. Now why'd you want to want to do that sometimes it's nice to just do it, you know, around nine o'clock and three o'clock. Let's have a listen to that. Moving on to the shaker, what kind of EQ curve or EQ processing would you imagine? I'll be doing I'm going to show you absolutely we'd be employing our high pass filter dropping all of that to shaker ain't gonna be making anything down here. So let's just lop all that off.

And let's add a little bit of sheen up there around 10 K. And similarly it would be if we go over to make that small so a tambourine. And so right around here, let's look at an EQ fact, we haven't put any EQ on that, let's put an EQ on that. And in fact, let's click back to here, and I think we could probably get away with copying that and then pasting that down in the tambourine. Sorry, I keep on doing that. There we go. Paste that.

But you know what I might rub off just a little bit longer because there is some pleasing stuff down Down the bottom of tampering. Great. Let's move on to our bass guitar. Here is a bass guitar and let's have a listen to it. Here's actually what I've done. I've just rolled off just a little bit.

The very, very low here, just a little bit on for around 100 hertz. We've taken a little of that kind of booming us out at 300 added a little bit around one K and a little bit of things. Get like threatened noise around two K. So let's have a listen this the low end there that's going to really over overpower and mix too much so just a little dab the right there too harsh down there so just carve out a little bit of that little rattling around there. And then the fret noise Now record another bass track here, I mean this time I record it with a pic. So I think I could probably just copy this EQ go down here let's pretty much EQ again and we'll paste that. Have a listen to that.

Now I wouldn't need so much top in there because the pic is really bring in a lot of that stuff and I might add just a smidge more low end. Let's listen to that in context. I think I put a compressor on here. So let's copy that. Put in a dynamic. Let's have a listen to this.

That's a little bit in here that amount of might raise that threshold a little bit too much gain reduction. Cool. So that's all about drum kit and a couple of bases