How to use EQ and Equalizers - MIXING AUDIO | Marco Silvestri | Skillshare

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How to use EQ and Equalizers - MIXING AUDIO

teacher avatar Marco Silvestri, Sound Engineer & Music Producer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

6 Lessons (19m)
    • 1. An Intro to the EQ

      0:29
    • 2. What's an EQ? A phylosophical approach to it.

      1:09
    • 3. The EQ explained

      3:19
    • 4. The EQ in practice

      10:25
    • 5. The Zen EQ

      2:48
    • 6. Conclusions

      0:24
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About This Class

Welcome to this episode of the Mixing Audio series!

This class is all about EQ and Equalizers.

Learn how to master the EQualizer, by understanding it from its foundations and bring your studio/live mixes to the next level! In this class you will discover:

  • What's an Equalizer and how to use it;
  • Conservative and Creative use of it;
  • Q, Frequency and Gain;
  • Differences between Graphic and Parametric EQ;
  • Filter shapes;
  • The Equalization workflow.

You can access the other lessons of the Mixing Audio series here:

  1. The Pre-Mix
  2. EQ and Equalization
  3. Compression
  4. The Reverb

Meet Your Teacher

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Marco Silvestri

Sound Engineer & Music Producer

Teacher

Hello, my name is Marco. I am a Sound Engineer, Music Producer and Video Colourist, with more than a decade of international experience in the field. I started my journey in the audio world in Italy, and after working with several studios and production houses, I moved to Ireland and then to Kenya. I have worked with corporates, established and upcoming bands, theatres and live events.

 

Here my playlis!:

Mixing Audio

The Premix: in this class you'll learn how to move to first steps in starting your mix right; The EQ: Equalization, Equalizers and Filters. Learn how to change the frequency content of your tracks! Compression: playing with dynamics is easier said than done. In this class, you will learn everything you need to learn about Audio Compres... See full profile

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Transcripts

1. An Intro to the EQ: Hi, everybody. My name is Marco Sylvester, and I'm a sound engineer based between both Europe and Africa. Welcome to my new skills Share class about mixing audio today. I'm going to teach you about equalize us and equalization. He doesn't matter whether you're using pro tools. Logical Q base these classes for you as you can immediately apply what you've just learned in your favorites after during the class. I'm also going to show you some cool free plug ins that I personally use. Grab onto your air unless get started. 2. What's an EQ? A phylosophical approach to it.: equalize US Equalization Boosting, Cutting filter shape If you try to mix at least once by now, you should be familiar with these words. So you think confusion and let's try to put some more than in the house and fast understand the meaning off the word to equalize. Never forget that words are important to equalize toe. Make it equal toe, but equal to what? In our case, we might want to make the sound. We are manipulating equal toe what was in its original setting. By correcting most off, the alterations introduced India to chain by our microphones, cables, combat as and the rest of the years, or to make it equal to the idea we have in our mind to emphasize the denoted of components off the sound we are manipulating. This is basically the difference between a creative and a conservative approach. Let me show you something 3. The EQ explained: So what's an equalizer? In short, an equalizer is a signal processor, which alters the frequency content of our signal by boosting attenuating or cutting parts of it on equalize that can be found in its analog form as a physical device or in its digital counterpart as a plug. One of the fast acute in the history I can remember was the one invented by John Fortman in the twenties of the previous century to equalize the sound off motion picture playback systems. This model already had older bands tuned, meaning that the operator could only choose either to boost our Tinu eat some specific given frequency. Is this kind of the Q is cooled graphic equalizer. In order to have a Parametric ACU meaning fully customizable, we have to wait till the year 1971 when Daniel flicking your invented it. How does it work? Things are starting to become figure, so pay attention. Let's focus on the parametric eq you fast. The rest will derive from it again. If we think about the wording, the wide parametric literally means related to or define by numerical or the measurable factors forming one of a set that defines a system or sets the conditions of its operations applied today. Q. It simply means that a parametric equaliser depends on the values that I user inputs in allowing the operator to change all the values of it. To better understand what I mean, let me explain which and what those values are different. Quincy indicates the position off the filter in the sonic spectrum, que also known as quality factor indicates how broad or narrow to filter is. The gain indicates the amount of boost or attenuation. These three perimeters are going to describe the behaviour of each and every filter that is going to compose the parametric EQ. You we offer referred to the filter using the word band so we can have a parametric a Cuba 234 100 months. I'm joking. 100 bands are a bit too much to make things more interesting. We also have different shapes. The shape of a filter is also an important indicator off the behavior off that filter, which filter as its purpose. Let me show you one of the most known failed us is the pick field is to change the frequency balance by boosting or iterating a portion of the signal. It is used for genetic correction, and it should be employed sparingly. Then we have the Shelvin filters, which moves the low and the high edge of the spectrum. In addition to that, we have the low pass and the high pass, which cut the highs and lows frequency over a spectrum combined. Together, they form the band Pass, which allows only a certain portion of the spectrum to pass. Please note that in the low and the high pass filters and all their the right filters, the step nous off the filter won't be deter mined by dick you factor, but by something called order. For instance, a low pass filter off the first order will attenuate frequencies by six db per octave. The same low pass filter off. The second order will cut by 12 db etcetera, etcetera, etcetera always going on 60 b steps. We have an octave every time we double the starting signal 4. The EQ in practice: After all this theory, let's see how it works in practice. I am going to show you our generally used equalization toe. Make me mixes. Stick together for the purpose of this class. I am going to use a drum pattern, a bass guitar and an acoustic guitar here where I'm using a free Parametric equaliser, the TD and Nova by the Tokyo Red Dawn. Let me start with the drums specifically with one of the kids pieces that represent the only great for both producers. The kick. In fact, most of the questions I receive are similar to how should I take? You may kick and the answer can only be one. It depends never thinking term of para meters. They will mislead you. Usually when I approach take, you will you will with Ray toe step number one, find a useful frequency range that an instrument occupies step number toe investigate on the sonic role of that instrument or to reiterate understanding the sunny contribution of eating a mix. Let's listen to what we have in this case. I understand that this cake, for the way it was recorded as an extension that goes more or less between 40 in 5000 hearts. Its purpose is not to fully represent the kick, but to give us more focus on the punch, emphasizing on the low end as the high frequencies will be carried from the whole racetrack . I'm using a high pass filter. Fourth order to remove whatever is below 40 hearts. I will rescind to size them later on toe, have more control over these frequencies, are playing the same reasoning on high frequencies, the difference being that I am not going to recreate the high frequencies. I prefer to use the one in the overheads but its training making a specified extension. I will avoid dangerous and uncontrolled clashes later on. - What I've just done is a busy filtering and is often one of the few secrets that could help you achieve a great equalization. You can find a lot of cheat sheets on the Web, but trust me, the best one is made by your years. I also see a lot of my new students using a spectrum analyzer. Let's avoid the usage of these visual tools and let's keep your years in exercise. In addition to the basic filtering, we can start what in with all the parts of our signal by using in moderation. Depict filter. The pig filter will be used to attenuate large portion of the spectrum. The notch filter. In this case, a peak filter with a very high quality factor will be also used for more surgical interventions, for example, to remove a residence. We can imagine a resonance as a sudden increase of the level only on some specific frequencies, but do not overkill them in some instruments like snakes as they can make the instrument a bit more lively. Now it's time to apply this concept to all the trucks. - Uh oh, I think you'll notice something in normal intervention. I never boosted, but just cut and attenuated Why these approach as different benefits Number one. It allows you to gain more headroom. Decibel by Daisy Bell. Number two introduces the amount of artifact you might add toe a sound scalping out the sound you really desire number tree. It helps you to reduce phase distortion every time we use an equalizer. Due to his nature, it introduces a faith rotation generally greater when we boosting, especially for face correlated instruments. This behavior can produce unwanted filtering. There is going toe alter things beyond our control 5. The Zen EQ: It's just a different point of view. If we want more low frequency in a signal instead of boosting them, we can simply cut or a 10 way to the high frequencies. Basically, in this technique, after we attenuated the part of the signal we're not interested in, we also boost what we need, being careful to keep the output level as equal as the input one. - Okay , let's have the usually sin and compare. As you can hear, there are some differences. I wanted to create a solid and tight drums through that I've cleaned the low end and remove the boxing us. The bass guitar is going to naturally fill the gaps in the low end left by the drums. Acoustic guitar is a failure, so I've removed the law ends and that generated them is so it can complement the drums on the high frequencies 6. Conclusions: this time, I would love to read your comments on the comparison. Is it effective? What is different? So for today's class is everything. Don't forget to post your assignment and follow me to keep yourself updated and not miss any of my classes, and in the meantime, let's rock.