Okay, we're back in Pro Tools. This is the sample song when you rain, and we're starting off with the kick drum. We just have a single kick drum track right here and look at this EQ, it's starting to look pretty familiar, right? We have a fundamental that we're going through around 70 hertz in this place, scooping out some of the boxiness that might be just a little wider, I would say. And then we had the snap of the kicker and listen might be a little heavy. So let's bypass that and have a listen.

Splat and we'll drop it in. Much punchy, right? So I think I've said this a few other times. The, the, the boosting below him is is good but you can bring up the perceived loudness of a kick drum by adding a little slap or snap around to case like that. And if you if it's a little different on your system then just slide that frequency around until that pops right out in this mix it was around 2.4 and is right there. So in this track, we just have a single snare track just one microphone on the top of the snare, and it starts off with a flam.

That's working against the kick if we saw this as well. The high hats come in, it's just a single snare drum hit and then you can see down here that We're going to go into slides. So in terms of this snare drum, being the slides, ticks, being able to kind of poke their head through the mix, that is a job with compression effect in the compression mask class and compression limiters AND gates, we go over an example of how to really get a sidestick to sit in a mix. without, you know, popping these snare drum hits, you know, right out into, into distortion anywhere, but we're talking about EQ right now. So let's go to the top of this part of the track here, and you can see what I've done here. First things first, I've done a high pass filter, I could probably afford to make that a little steeper.

And then the first thing I'll go after is the I mean, I call it happiness or the body of a snare and that's typically around 200 So let's have a listen to what that sounds like. That's kind of the low end of that snare drum with a pull it out with sound very, very thin. So there's a little boost there, then around one K, have a bit of a snap right there. And then we have a shame on top and maybe that might be a little bit more like six K. This sounds like let me go back and talk about my past that with the kick drum Great, I'm mixing Stein's take shape, spend a lot of time on your kick and snare in terms of your drums. Okay, so on in terms of, of high hats, here's where they start. And in fact, there's no high hats right here.

This is all bleed coming from a snare drum. Okay, so that's really where the snare drum, sorry where they are hi hat, start. So there's a couple of things you could do on a da da W is just cut this area over here, just cut it completely out. You could also use a noise gate. But because snare drums and heights very close together that sometimes it's a little difficult to use that, but that there are a couple of things that you could do with this track. Now what do you think I would have done in terms of EQ This can you imagine what the curve looks like before I bring it up?

There you go. We have a pretty steep, high pass filter, lopping off everything from what's that probably about 200 and then we go across here, there's a little kind of a clunk area and a hi hat. Let me just play it from here and we'll boost this area here around one k is the hi hat. pretty nasty right around there, right? So it is pulling a little bit it will just help that sit in the mix a little bit better. And then we have some shine up at the top around seven K and that is a bell shut.

You might even want to make that Let's bypass that. That'll sit well let's listen. When now he's Manny playing on the ride and he's also pedaling the hat. Let's go back to here where the high hat was. Great at drum mix is starting to take shape. Okay, now we have four Tom tracks on 123 and four.

And what you'll notice if you're looking at the waveforms of this is a lot of bleed. None of this is actually Tom one. This is the only time in this whole track when Tom one is actually being played. And the rest of the time this might is bringing up bleed from all the other microphones as well. So how would you fix that? In a DA W, I would grab all of this and then just delete it out and just be left with just the spills.

Now. You can't do that. In the live situation, and so what you would do is use a noise gate. And I'm not going to get into noise gates here, if you really want to know what noise gates are all about, go into the mass class with compression limiters AND gates. And you'll see we do a lot of work with that. The big benefit is, is that you can get rid of all of this stuff automatically.

In a DA w you can do it you know, many, like I said, Yeah, by cutting things out, but certainly in a live situation, you will need to use a noise gate and basically you set the threshold so only these peaks here will cut through all the rest of here will be drowned out that will actually be the game reduce so much that they'll basically not not even be there. And the reasons why you might want to do that if you have all these open you've got Tom one time two times three time for all of them open. then guess what guess what happens is that all this low level stuff gets comes through And it all arrives at this is probably a snare and hat that is bleeding through or maybe even a kick drum, if they are arriving at these microphones at different times, because they're all different distances away from each other, then you can have some of that phase cancellation, just like we heard with that snare drum.

That was Mike from the top on the bottom, we had to flip the face of the bottom, miked and you could hear how much of the low end of that snare drum was just getting robbed because of all of this stuff. Anyway, so that's that that's the reason behind why you'd want to use a gate or if you're in a DA W, why you want to just select these and and delete them basically. But here's what's going on in terms of the Tom's I don't really spend a lot of time working on Tom's unless it's a really, you know, it's kind of an anthem song that there's a lot of Tom's in but in a lot of songs, I mean, this is, you know, once every 16 measures, there'll be like one hit on here. So one thing I will go After is the the stick sound which is normally around two K, let me just loop this area here.

That's exactly where the sticks are called like sitting right there round two. I would go for that I'd also roll things off. And you know once you have set a set that up for Tom number one, and you know what i would typically do is just copy that and then just go over to Tom number two, and I would paste that. But you'll notice let me just was I've lost that. I've totally messed up. Now let me go back to the first one here and we want to copy that Go down here and we want to paste that.

The only thing I would do as I go down these Tom's Tom ones normally the smallest one, yeah, maybe in an eight or 10 inch, and then they just keep on getting into you know, this might be a really large floor tom, that all I would do is I would just change this frequency point and extend it down a little bit further. You can imagine every time you get down further, in fact, I'm just I'm actually changing on Tom number two right here so I would select here Tom number four, and I would bring that down even further all in fact, you've you've seen this, this is the kind of changes I made. So if Tom three and four you can see that the high possibility just gets rolled off the lows at a lower pace because with each Tom getting larger, those fundamentals will be you know, naturally low.

Okay, onto our road. As you can see that this spikes all over this ride track, but most of the time, if we're still on this track, it's not the ride, we're picking up its hat, right hat and snare is coming through this and then right now, we should be a rock. Okay, so that's really where the ride is coming is coming in there. Again, you can delete this part, you can get this part if you're in in if you're doing this live, and let's see what the EQ band look like. Again, we're rolling off, maybe make that a little sorry, rather than the point though. Let's make it steeper, without 18 db per octave.

And we're just adding a little bit around three K, let's listen. Where that kind of stick is hitting the symbol there and also some sheen above that. Okay, so let's move on to the old Heads which are pretty similar. The head Okay, so this is a stereo track right here. And so we have a stereo EQ right here. Okay, so again, we're rolling off the low end around 110 hertz.

I, you know, I might even make that a little steeper. And we're just adding a little sheen up here and also the sticks out. Whoops, let's read lots of things on there. But it was all the drama right we've got a prison next guy along here with our drums of EQ demo. Let's move on to bass. Here is a bass track.

Let's have a listen. So the first thing you notice is that the high pass filter, high pass filter is taken out. I don't want to really restrict anything that's happening in the low end of this base. In fact, I might boost up a little low end around 120 hertz. Let's listen what that sounds like. Clearly, this is just all the bass in the first, maybe two to three octaves.

What would that be the low end of a base around 40. So next octave is a Next up is 160. So this is about an octave and a half of boost we have down here, we're going to take out some of the kind of boom Enos of the of the bass guitar around 270. Let's listen to what that sounds like. Have a nasty frequency, I'm not really thrilled about those frequencies. So as always just boost them up.

It's a lot easier to hear the stuff you don't want when you boost them up and then just take out a little bit there. Okay, then I'll put a finger noise around to Okay. Let's listen to this with the EQ without this is bypassed. That's flat and that's dropped and just smooth and cover around a sound While I'm cueing this I normally bring in the kick drum as well just to see how they're blending together. Okay, here we have our acoustic guitar, and this is what it sounds like. So what do you think the type of EQ I'd be putting on here?

Well, you probably guess it. If we look at the first part, we do have a high pass filter. It's right around 46. But you can see where the slope starts coming around around 80 or something because the low end of the acoustic is like 80. I think it's 82 or something like that. So pulling that down below that is a great way to get rid of all that junk as we've seen.

The next dip is the boxiness. And guess what's our old friend around two or 300 hertz, let's boost up and have a listen to what that sounds like. I'll start from the top of the diss track. Don't need to pull out a match of that and then just a little bit around one K and then two and then a little bit of sheen on the top that might go just a little bit higher. And let's listen to what these what these particular bands sound like. It's really harsh, much more.

So I tend to just do a little bit of grading. It's black That's really a good example right there if you ever think a guitar is sounding a little too thin well you know listen to it in context when the bass guitar is carrying that low end because you know if you want if you really try to pump a lot of low end of saying acoustic guitar, and that gets into the area of bass guitar bass guitars gonna win that battle I mean, gonna do a much better job of impressing upon you that that low end, the acoustic guitar ever will. So if you're just not sure how that mixes going, drop the bass guitar as well and have a listen to it. blending in world mix is starting to come together. Okay, so there's a part in the song where there's a clean electric comes in and this is what it sounds like.

Now I'm probably a little bit more reserved in terms of issuing an electric guitar. If a guitarist has spent a lot of time on the sound of it app, it should sound pretty good right out of there. One thing I might do, again, we're doing the the low roll up here or the high pass filter is look at some of the other acoustic guitars that are occupying that space at the same time, that would be the acoustic guitar. Now I'm going to switch back and let me actually make this a little bit bigger so we can see it. Okay, so now when I click on this, I'm looking at the curve of the acoustic guitar. And then I'm looking at the curve of the electric guitar.

And sometimes what I'll do, I mean I won't get really picky on this. Like I said, a lot of the the, the tone of this guitar has been taken care of at the amps stage, we're just really miking it up and piggybacking off of that tie that's coming out of that app. So what one thing I do practice sometimes is to scoop out some of the areas that have been boosted in the other it's like acoustic guitar, look at that. There's a little bit of a boost around there between one and two K. So sometimes what I'll do is go over to the clean electric here and just scoop out a little bit in that area. Just let those sit well together said listen Okay, so not a lot of stuff going on that clean electric, like I said, because the low that's done in the app, but if there is anything, I'll just do a little scoop just to leave a bit of space for the boosts that I've done another good time this case it was an acoustic.

Okay, moving on to a guitar riff with effects, right, here's what it sounded like. It's kind of like a triplet echo on it. Again, because I'm affected signal, the sounds coming out of the app is, is pretty good. And all those effects that's working out really well I would just roll off a little bit there and I'd scoop around one two k because this is kind of an accompanying piece. As you remember, if we go back to the acoustic guitar, yeah, I boost a little bit there. So I'm just trying to take a reciprocal approach here with the guitar effects and scooping out a little bit there.

Let's see what the how all these guys will play between each other coming in right about now Cool. Within left with a couple of electric guitars, some of these more distorted than others. Let's start off with the first one here electric one, let's have a listen to what that sounds like. Not going to do a whole lot with that, because there's a lot of kind of low end chunks on that. I might blow that 60 Yeah, that's, that's probably about right. So you just don't want to, you know, roll off a lot of that stuff.

Because that you know, there's a lot of low energy down on that particular track. Let's have a listen to the other one, which comes in a moment and I'll switch over to that EQ. This one sound a little bit more down. So in this case that I might want to brighten that up around, you know, one or two K, and because I've been scooping out a number of guitars, then this one will live a little bit better than that. Let's add these guys together. Not planes at the same time.

Let's try across here. And we'll add the other guitars in. Whoops, here we go. Electric one is definitely way too loud in the mix. We'll go across here and electric one, okay. That's why they stop.

Let's listen again. Got a little later in the song. All the guitars sound good. Now it comes down to mixing them in terms of their levels. And yeah, I would certainly start doing some automation here because some of the levels of these really start to step on each other's toes, we've made sure that they're not stepping on each other's toes in terms of EQ. For example, we've seen before here, some of these, they're just scooping out a little bit.

Let's have a look at the guitar effects. Again, a little bit Gentle scoop. And the acoustic is kind of brought up there to get some of that brightness of that acoustic, they're now really just come down to this mixing their levels in terms of just adjusting their faders. We'll take a break to kind of hear how this all sounds of so and everything. The only thing we're lacking now is just the keys and the vocals. So just in the kind of the Midway of the mix, we've made a bunch of EQ changes.

Let's see how this is kind of sounding. But acoustics really sounding nice right there in the mixer, all the guitars kind of blend together. I definitely want to put some compression on some of these certainly the bass tracks there. The acoustic guitar tracks any of these guitars that are really distorted there's really not as much used to be in terms of putting dynamics on that because they're pretty much square waving anyway. Let's move on to the keys. Okay, so now we have a piano and I haven't done a lot of stuff here just brought up a little bit of the body of the acoustic piano and added a little bit of bias there at three, nearly 4k and a bit of sheen on the top.

So listen to it. Was bypassed that flat, cheap back in the drop in the low end of the base and put them up against each other. Okay, let's listen to the sense of bring that back down and we'll take that sell off of the bass guitar and that's in that piano. And let's have a look at the Synth Pad. Do a lot of stuff right here just to add a little bit of sheen on the top was that around five, five Maybe Yeah. Quarter metabolize, just say Okay, let's look at the vocals Okay, so here we go there's the star of the show the lead vocal.

Spend most of my time e cueing the lead vocal I mean, as well as a kick and snare and basically sighs I guess I'm I'm spending a lot of time. If a gun was put to my head and said you need to spend the most time on something you probably would be the lead vocal. Anyway. So here's what it looks like. Can you imagine what the first thing I did? Absolutely roll off their hypotheses.

To certify to at 18 Db an octave and then we go through on some of these other areas. This is kind of a want that 3.2 Let's have a listen to that. Danny and Danny, Danny you bring in me back to life. So a little bump right there. Nina Jamar offering myself as a living sacrifice. I just want to just add a little bit there you definitely want to be careful around one case of very, very busy a frequency range here, a little bit of high end.

Dying daily, you bring in bring up some of the brokenness of there and then some shame around 9.2 you can see that the amount of boost, you can get a little more. You can give things a little bit more gain, the higher you go, certainly I would not get away with you know, adding four dbx around them the mid range that would get very kind of harsh. I've listened to this mo a bit. Danny and Danny, you bring in me back to life. I'll keep it bypassed and I'll bring me I'm offering myself as a living sacrifice a lot of things I hear first thing is that wants boy without that boost there, the vocal would end up sounding pretty thin. Now let's go over to the Background Vocal.

And from memory, this was female. And there's a bit of a harmony right here. So let's actually just listen to that one first. And look, it's very similar to Yeah, in fact, I think I might have just done a copy over there. I could probably because a female I could bring her up just a little bit there and let's have a listen. Sounds like you bring peace.

Okay, so let's bring the two together you bring darkness drowns and your light. Okay, so let's listen to everything together and see how this is sounding and you we were So I'm pretty pleased with the mix in terms of the EQ, I could definitely be witnessing this blending and this really does mean a lot of work in terms of the dynamics. Again if you really really want to learn a lot about compression limiting AND gates, a check out the master class on compressors, AND gates. Well what produce dvds.com as well