Okay, so let's look at a couple of vocalists who have a male vocal and a female vocal. let's fire up the male vocal, ah dreamy on here. Okay, what what are some of the things we've done, put a pretty steep 18 db per octave at around 56. That's that point right there. But really the corner starts happening just a little under 100 hertz, which is about right for someone for a male vocal, but there is some really nice warmth around 350. In this particular sample, listen, hello can go and you better believe is really with the release.

So, so boosted a little bit around there. You can see it once again, quite often. The higher you get, the more liberal I am with with Ghana. Don't want to be you know, in fact, that might even be a little bit too much in terms of that mid rat there at 1.3. So listen to these, these bands. I thought we wanted the same thing real quick and have been this now that you've shaved your course you want to go and you better believe for release.

So that's been the you better believe it or at least you Tom. So let's malburg Let's minimize him and take up a solo solo the the female and look at her EQ. Now it's it's pretty similar to what we have with a male Let me see if I can bring up the male next next to all we had that bypassed There you go. So a couple of things have happened. The the the roll off is a little bit hard being female vocal, and we've added some body around what is it for 3430 there and then a little bit at bit over one k then four and then some sheen at the top at nine. So listen to this female vocal.

Ah, be your slave to your time keeps you from me. I will watch his life pass me by Come back you see me to make you We believe that if if you're trying to think about what's the absolute minimum you need to do with vocals roll off Bruce little talk in and then start looking around for some harshness in some of these protocols. I've listened to both of these and I'm not finding a lot of harshness here so I'm just boosting sell a little bit that's probably a little bit too much. Just bring that down a little bit and have a listen this again. Me to make you mad Okay, let's work on another couple of songs. And this will be a complete mix of a couple of songs that I've recorded.

So let's look a slightly different type of production in this song that I recorded. A lot of these a lot of the drum tracks down here starts out with a home drum right here. Now that's a loop that comes right. I believe that the reason the sound bank and I think it was a third party one, I think that's a stripe near the sound bank. So they spent a lot of time making these loops sound really, really good. So you notice what I've done here.

This is what EQ section looks like on the reason mixer and we basically have a low frequency, low mid frequency, high mid frequency, and a high High Frequency up here. And both the low and the high and normally shelving and less we turn this bell on. In fact, let me just turn this on. And I'll bring this up so we can see exactly what's going on right here. So you can see the low is a shelving unless we hit the bell. And then it can be a bell right there.

It's it is a fixed width. There's no cue on this, but then you can slide that around as you can, if it's a, a shelving as well, but you can see the differences there. They default to having both the top and the bottom just being shelving frequencies. So we'll just bring that back to where it was. Same thing up the top. You can do that or you can have the bell shaped as well.

And then in the middle, we have two parametric EQs in the low, mid frequencies and the high mid frequencies. And then like any of these EQs you can Boost or cut, narrow the queue or widen the queue, and then move that around the frequency spectrum there anyway, so that's what's going on inside this, this EQ and for all these tracks, they you can switch this EQ in or out. And you'll notice that along here, there's a number of things that have EQ enable a number of things that don't so look at them. So that the Gohan drum and a drum kit which I think just has like a tambourine and some, some cymbal crashes on it. Also some, some shakers and various other symbols as well, as well as some wind chimes. All of these are samples within the reason sound bank so that, you know, I'm there's no problems in them.

I mean, you might want to go in there and each of them a little bit, but if they're sad Pretty good out of the box and let's just sew all these in here and start from the top. And I think a tambor and some and the kick in the snare well they're not really taking the step you ever seen like a home drums they're basically a box that you sit on and you play with your hands that come in and I guess cymbal crash as well is a good example of things that I just you know you don't have to EQ everything. Let's go across here to the other things that don't have EQ on the piano the piano sounds great right out of the box that is a premium set. I believe that just called reason pianos. They're really really, really pretty pianos. And and then pad sounds fine just just as it is a bit basically the only thing I'm EQ doing here are all the vocals.

There's a lead, a lead double, there's a, an echo that comes up in the bridge that I've EQ to sound kind of like had that radio effect. We'll talk about that mistake and then we have all of AP background vocals and the other only other things that are EQ, our bass, all and all of our guitars. So let's start with the guitars. Okay, the first track we'll look at is at bass guitar track here. And here's one thing to know about this, this bass guitar. I really love this place.

This is not an endorsement for carbon, but I know you've seen them cir v i n. They're a little shop out of California that sell directly to the public. And this is a really nice sounding bass. And so this is what it sounds like with no EQ. It sounds pretty good right out of the box. I have some compression on that right now. So you can hear those those notes ringing out for a little bit longer.

But there's just a nice nice sound there. You know, this is the EQ master class EQ doesn't have to be this messing around all these knobs right here. It can be little things like your what kind of strings you use, these are fairly bright strings. Also, another trick that I like to do with bass guitars is tune them down. So this bass guitar tuned down, maybe a whole step, so the strings rattle a little bit. And that's kind of a pleasing sound.

It may not be your sound, but you know, it is a sound a lot that I like, and just in a mix, it just sounds just a little richer. And then, you know, you can get away with a four string attached sort of a four string bass, rather than a five string bass, because you're really only missing out on what would that be three semitones So anyway, enough about that. Let's see what I've put on on this. Probably just a little bit I've forgotten but it's probably just a little bit of compression. So a little bit of EQ. Yeah, I mean, I've just boosted that just a little bit around to get some of that finger noise there.

Let's see that with drums. I just kind of wanted to show you how gentle that curve was, there was not a lot of stuff going on there. I guess the thing to learn about this is if you have really good instruments and people who are playing it thoughtfully, then you know, there's less use of EQ, you really don't need to do that much work. Having said that, let's move on to the acoustic guitars. Okay, what's the first thing you want to do on an acoustic guitar track? Hmm, sounds a lot like high pass filter, right?

You bet we want to roll that off. And then if we play this guitar, and see exactly where all the action is, how low it goes, then we can stop scrolling this down until we get rid of that low, maybe first couple of artists. Let's listen to the acoustic guitar. sounds super thin, right? Let's bring this down. song was actually written in trying to think, well that the yeah it was it would just be a straight A major open shooting so instead of it being E, A, D, G, B, E is E, and then there's a fist.

So a B, that would be a, b, and then the third one is B and then the third would be, are not really bad. Explain this without any graphics. But anyway, if you just look up, open, a tuning, that's what this song is written in. So you know, the lowest I'm going to generate out of here is about 80 hertz. So where are we? Let's and that's about wrong on 80 hertz.

So yeah, those first couple of days, this is junk down here, let's get rid of it. And then, but Dennis a little bit of EQ on here, and yeah, it's mainly just going out to a little bit of boxiness adding a little bit of shame, right there. So let's have a listen to how that plays out. One of my favorite things to do is to play you know, instruments should live in their, in their, in their frequency range. In other words, if you have a piano player that is playing by themselves, they have to play a lot of the left hand to accompany themselves in terms of bass. If I had Have a very inexperienced keyboard player that is just slamming out octaves in the left hand.

Quite often I'll roll those out because that's one of the best players job, a bass player, we'll cover that a lot better than a piano player, you know, especially in an ensemble area here. And in the same way that you can get away with a slightly thin sounding acoustic guitar if a bass is underpinning that, that low end so let's have a listen to that together. Yeah, bass. And then we're the drums. Let's go and look what we've done. No EQ for all of these.

So just think about that when you brought up a bunch of loops that you know you bought from some reputable firm, not just some guy, you know, making loops out of itself. But, you know, if they're good enough to be so commercially probably they've done a lot of processing on them already. I don't think I have any compression on these because you know they've already been compressed. No EQ, but spend a little time on your instruments. If you have nicer sounding instruments you probably don't need to EQ quite as much. This is a nice sounding acoustic guitar I think I paid maybe 500 bucks for this guitar.

So you don't have to have super expensive instruments but the other better instruments are, the less you need to mess around with these EQ. And then so once you've got that set up exactly the way you want it I also have an acoustic guitar to hear Let me see where that comes in. Whoops to the song is closes out his acoustic guitar Paul now that pretty much playing the same kind of part, so I've got no problems just copying the EQ of this over to this. Now, if this was, you know, a complimentary part that was played a little further up in the neck and you just wanted to have a little more shot, and you can make those choices there. But on any particular mixer you're working on, you can't do this on a on an analog mixer, you would have to, you know, write these down and then copy them across here.

But on most da W's and digital mixers, there's a way to do that and in reason, you can go down here and copy channel settings, you can copy it Just a subset of all the various controls you have on there. So we would select the filters and EQ, copy it there and then go over to the next one there. And then we'll paste that EQ for the next one, the guitar and, and paste, EQ right there. So now they all have that. I think this guitar end. Let me peek down here.

Yeah, so right here, I just double. Sometimes you just want to just, you know, hit that last power. Have a song strong. So that's really what's going on there. Let's listen to all of these together and see how it's sounding. So there's no effects on this yet.

There's no there's no reverb and echo. It's, I think there's a little bit of compression on the on the bass a little bit on the acoustics as well. So let's move on to the electric guitar. Okay, so we have a guitar crunch here, this happens right into the bridge. And here's what it sounds like. Right down here.

Okay, so a lot of that sound is really coming from the amp, I think I was using probably an SM 57 to make up that amp. And here's a couple things that I'd be doing on this as you could, as you could imagine putting a high pass filter right here, and it's right around 75 hertz, because the song I believe the song Isn't he and so have a look when I play this look at at the low frequencies right here around 80. So, you know, he is at two hertz, I believe. So, if we play this, have a look what's going on over here. You can see Right, that's right on the money right there. So therefore, that high pass filter was a little higher or lower, you'd be losing out on that Gong Gong Gong Gong because along with the bass guitar, it kind of builds into into the bridge.

Okay, so just one other thing is the 50 sevens can be sm 50 sevens is sure workhorse been around, but ever great for miking guitar amps. Sometimes some of the top end can be lost. So, I tend This is a pretty severe boost up here, but it just makes this cut a little bit through. So let's see. Let's hear this in context with everything that you Very cool. So that just really takes or there's that little pad that's coming through.

We'll get the keys in a moment and also nobody heard that EQ echo on the on the lead vocal. I'll show you how we got that in a little while, but you can hear how that transitions just from the regular chorus into this builds up there and this just one little track can really help bring Right. So that works out really well there. If that guitar crunch there is another guitar solo and that's way back here. I think context When you think about times, so perfect then that sits right in the mix just a little brought up because it's a fairly dull microphone, but I mean, all that time was pretty much taken care of, in between the guitar and the guitar and and again, not really expensive gear, I think that was, I have an Epiphone 335 you know, which is based on the on the Gibson 335 you can pick them up for about 500 bucks, and I think that was a Fender hot, hot red, Hot Rod Deluxe and a hot dog.

Deluxe. Anyway, so you We kind of get the idea there. And then in the mix these guitars, you know, sit pretty well. Moving on to the pianos. These are just, you know, as is I have them right here and a pad, none of them have EQ. Let's listen to them in context.

I hope you can kind of get the idea that instruments themselves are kind of like a chewing em. If you want a little bit more bass to mix rather than going through and boosting the bass on all of these, just bring up the bass guitar. If you More jangle than, you know, have a little bit more acoustic guitar. But once everything comes in, in the mix, you really, you can really blend your, your palate across the town spectrum, you're a lot better with instruments rather than really getting into the nitty gritty. And then if you want to know how sometimes insignificant EQ is, like, there's two truths going on here is EQ input, yes, it's way important. It's really, you know, can separate the men from the boys in terms of, you know, getting a really nice mix.

However, there's a lot of folks you know, a lot of really famous engineers that you know, almost use No, you know, EQ. So, bring up, you know, go and do your due diligence in within each track, fix some of those things, but then start sewing some of these kind of subgroups of instruments, your guitars and pianos see how they play off each other. Not no EQ on piano, no EQ on them again, these kinds of inside the box. If I miked up that quarter that way, I would be the drums. Great, let's move on to vocals.