Music Production Essentials - EQ and Compression Overview | Tomas George | Skillshare

Music Production Essentials - EQ and Compression Overview

Tomas George, Music + Audio Production Instructor

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4 Lessons (17m)
    • 1. EQ and Compression Overview Welcome

    • 2. A Brief Overview of EQ

    • 3. A Brief Overview of Compression

    • 4. EQ and Compression Overview Thanks and Bye


About This Class

In this class, you will learn an overview of EQ and Compression.

Learning EQ and Compression is essential for mixing audio and music.

This class is suitable for any music producers, audio engineers, songwriters or music composers who want to learn the essentials of EQ and Compression today.

In this class, we will look at the most common controls that you will find on an EQ and Compressor and I will quickly teach you the fundamentals of how to use this.

This is a quick beginners guide just to get you started learning about EQ and Compression.

Most of the examples will be in Logic Pro X, however, the skills and techniques I teach you will be applicable to any Digital Audio Workstation.

So join me in this class, if you'd like to learn an overview of EQ and Compression today!


1. EQ and Compression Overview Welcome: Hi there. It's Thomas George, And welcome to this class all about an overview off e que and compression. So learning how to effectively use EQ you and compression really is essential for mixing audio and also mixing music. So in this class I'm going to show you the essentials so you can start to understand the basics off e que onda compression. So most of the examples I show you in this class will be in logic pro 10. However, the skills and techniques should be applicable in any digital audio workstation. So if your music producer and order engineer, songwriter or a music composer and you want to know a brief overview off e que and compression, I'm sure this class will help you out a lot. So join me in this class to learn the essentials and an overview off e que onda compression 2. A Brief Overview of EQ: Hello and welcome to this lecture where we're going to be looking at the basics off peak you or equalizers. So in this digital audio workstation logic pro, we will have an e coup. Blufgan, however, accuse work the same way. So if you're using a different deer w such as able to live reason protocols, Studio one beacuse there will work the same way. So let's just open up that you keep looking. So this is just a Simpson. Ah, there's a lot of information going there on the love equalizers. Well, haven't analyzer which can help you visually see what's going on way have is the different frequencies that this is actually human range of frequencies thes higher frequencies up here. You may not here as an adult, but the human range does go from 20 hurts all the way to 20,000 hertz. So the lower frequencies on the left and going across to the higher frequencies on the theme on a lot of different accuse will have these different functions as well. A lot of them will allow us to actually select different bands or different shelves or even filters. You will often hear the term low pass on high pass. So this really if refers to these filters here and accuse so on the right, we have a low pass. So what low pass means is it allows the lows to pass, so it cuts out the highest and high pass means allows the highs to pass, so it cuts out the lows. So now you notice if I drive this filter over what we do? Is we cutting out anything below here? So cutting out these frequencies So you noticed anything below here will be scooped out, and then we drag it back here. The lower frequencies and vice versa for the low pass. Anything below here will be heard anything in here because type. So we're not going to hear these higher frequencies. Just these lower ones way even get something called a ban pass, which is basically where we only allowed the middle band Teoh be hurt. Way s. So we're not hearing any of these highs or any of these lows, So that's really what the filters do. Okay, we also have these bands here we create a band boost or a band attenuation. This man here can even cut out this band here tithe, say, For example, we're mix in this song, and it's clashing with the base. Quite a lot of kind of Find the frequencies by the basis and then attenuate or cut out some of these bass frequencies. So we're not creating any mud in us in our next. What we could also do as well is we could also correct Boost say it's not quite bright enough. We want a slight boost about here. E often do this of high hats. If want the high has to be a bit brighter. I find the frequency where I think it's lacking, and I just boost up here as well. Do the same. If there's a frequencies that aren't sign it too nice or say there's a squeaky sound in the piano or a guitar sound that doesn't ring to well, you can find the frequency that's not working and just cut it out way are creating boosts in our sound. So we're boosting here on. We're boosting here as well. A lot of you queues will allow you toe have thes parametric bell curve. Several of them noticed that actually increasing the overall volume so we do often have a gained also just bring everything. Normally women mixing. We do want the same input gain in output game between the plug ins because I here can be tricked. If it's louder, we'll just think it's got better. But reality is just got louder. Be careful not to boost too much and increased overall gain. And if you do, just bring it down here with again, you'll get most a lot of the accused as well. We will have a shelf so this is similar to a bell except it doesn't go down. It continues all the way to the end. Andi Key. With shells and filters, we can create something called resonance, which is basically just a boost before the filter cut off. So boost before we cut it off. We do have other terms for filtering, which is the Cube. It was here, which is how tight we actually want this bell curve and we have gained, which is obviously the boost up or the attenuation down on. We have hurts so we can find the frequency that we wish to attenuate, and that's really the basis of UK. I would say e que, when you need to. Don't just keep for the sake of it. However, most instruments can be improved. I do normally have you queue on every signature man just because I think I can sculpt sound a little bit better and creates a more space in the mix. Let's just jump into ableto life now, and I'm sure the EU que there. Here we have two different Yuki's. We have wiki free and equal. Eight. A de recommend using e q eight ico. Freeze literally just free dials A low mid high, which is more for life performance. E que eight allows you to actually slept eight different points, and you can choose the type you can have the filter types. You can have the notch, and you can have the Parametric bell for the shape. Here is a power much of bell, but you can see and he can choose the frequency on the gain. So up or down on the Q. How tight you want this on Samos before really the same as logic Pro. This is number eight, so we can go through and choose the frequency, the gain on the key, and you can turn these on enough very similar to logic. Pros choose a filter to make it dramatic. Okay, so ready with just cuts out all of the low material. So that's really the basics are Vainuku. It just allows us to sculpt frequency a lot of the time. If it's the instrument where you just here in the higher frequencies, you may want to cut out some of the low, especially working with life audio. It may not actually be the sound of the instrument, maybe the sound of the room and maybe background rumble so kind of sculpt out. But I do recommend equaling for the mix, not for the instruments that lesson to the mix. Listen to what's going on if it's a bit muddy sounding. If there's some frequencies that clashing, I do recommend going into the e que and creating some space for each instrument to be heard . So that's just a quick crash course into Yuki. I hope you find this lecture useful and I'll see you in the next one 3. A Brief Overview of Compression: Hello and welcome to this lecture about the basics off compression. So compressor will be very useful mixing your music. So compression is basically just a form of dynamic processing. So that means it basically affects the volume off a signal. So if a compressor all we're basically doing is affecting the volume of a signal by Eva compressing get down. And also maybe even bringing the signal back up again with makeup again, we do have different types of compresses. This is the one in logic pro on. This is the one in able to life. But they will basically follow the same principles the main parts of a compressor, the threshold on the ratio. So notice pretty much all compressors. We'll have a fresh hold on a ratio. So the ratio is how much reduction you applying to the input signal says how much you are compressing. So it goes from a factor of 1 to 1, which means no compression on 2 to 14 to one and all the way up to 30 toe one on this compressor. So the higher the number, the more compression you're applying, Then we have fresh hold. So this allows us to choose where in the signal. We want compression to take place So the fresh hold will go all the way up to 00 db So the signal can't actually pass a zero db or will be clipping. So when you pull it down, anything above this number will actually be compressed air in the signal. Anything below 30 db will be compressed. Whoever all the way down and the fin above 50 db will be compressed. So I only signals that go past. This number will be compressed so you can have really extreme values se minus 40 db at the ratio off 12 to 1. If you want some more extreme compression, lots of compresses as well. We will have two different views, but have a meat of you. I will have a graph you. So let's just turn this compressor run on. Apply some compression Here, have a ratio off Frito one. Now, anything above 30 60 bees will be compressed. See this needle here and Russia clipping The signal is flipping right now. So if some compresses also have a limiter, you can see now anything below zero db will be limited on will not clip. We have two different views here. We have a meter on a graph. I'd prefer the me to personally, as it reminds me, more of an analog style compressor. However, the graph can show you in a bit more detail what's actually going on. So this white line here, this is showing you how much game reduction is taking place rather than a needle, which will show you how much game reduction is taking place. Red button here is flushing because it means the limiter is actually taking place. So really, with compression or reading is tightening up. The dynamics were making the louder stuff a bit quieter on. Then we can increase the overall game with this makeup gain here. We don't really want to squash it too much because we can ruin the sound. However, it really does depend on what kind of sound you're after. So what we're doing is actually squishing the sound. Let's just have a bit more gentle compression, but here also change the input gain on the up again. If you wish on some compresses as well, we'll have parral compression, which means we can blend between the output signals that the compressed signal on the input signal, said the UN compressed signal. So right now we're having a blend between the UN compressed signal on the compressed signal over compresses as well. That's one logic will have a distortion. So if you're driving this limiter, if it's actually working, you can add some distortion if you wish. So for things like Kick from Like, this distortion can be pretty cool. And then, of the things we will have on the compressor is a knee. This is easier to see on the graph. You to the name you see will change this point on this graph here. So hard knee is at zero on the Sophonie is at one, so the knee is really how the signal is treated as it approaches the compression fresh hold . So for a soft me, any signals that are just slightly over the threshold will be compressed, softer than signals that are a lot over the fresh hold. These will be compressed a lot harder, so you can see here smooths out when we have a soft knee on the hard knee. Let's just have a bit more extreme settings here so we can see What's going on to soften me a bit smoother on the hard knee will be a lot less move. So for signals that slightly over the threshold for ah, hardly, these will be treated exactly the same as for signals that are a lot over the threshold. So basically, for ah hard me, everything will be compressed equally so the things like kick drum or a snare. You may want a hard knee but form or organic sounding instruments like vocals or acoustic guitar. You may want to use a soft any. Okay, let's go back to the meat of you. We have a couple of other things here as well, which are very common in almost all compresses, which is an attack on release. So the attack, this is the attack time. So if you have a longer attack time, so this is in milliseconds. For example, 200 milliseconds means it will take 2000.2 of a second for the compressor to reach four compression. You can see here on the needle. It takes a longer time to actually go up. Then, if we have a fast attack at zero, it jumps up super fast. That's basically how long does it take for the compression to kick it, So release is very similar. It's basically how long is the compressor holding onto that compressed signal? So it's easy to see on this dial here, So if you dial it all the way down, the needle snapped back really fast. And if we increase the style, it will stay up there a bit longer. We can increase this all the way up to 5000 milliseconds, which is five seconds. You can see it's really just staying up there. It isn't even going back down. You may have to be careful of this, though, because if released times too high, it may actually believe into the next transient. So basically, I won't have the release too high. We do have this auto function as well, which a lot of compresses will have so you can turn on and it will affect the signal. However, it does work in a variable range. So if you have the release all the way up to work around this area for having all the way down to work around this area here and then we have auto game for the makeup gain. If you want to automatically set the makeup gain. If it's a little bit too hard or too loud, we can choose minus 12. Okay, these are the basic settings for a compressor. Let's just have a look at ableto live now, in case you're working in this digital audio workstation. But if you're not, it doesn't really matter, because the compresses do really work in the same kind of way. So here we have a ratio. So how much were compressing by the attack time? The release time? I'm a can choose auto for release here on Beacon set the fresh hold amounts on the outputs on here. We have a gain reduction and we can set it for the peak the RMS or we can actually use this as an expander. You can select or de select the makeup gain. You also notice we have a few different views here. We have well, this graph view, and we could just drag it around to set the compression. And we also have this activity view here. So this will show even the game reduction or the output so I'm able to live is very similar . Let's just hope back into logic pro, because I do prefer the way I compress it. Set out. However, compresses do work in a similar kind of way. Also up here we have different circuit types to choose from to these actually emulate different analog compressors. So these allow you to add some different flavors and colors to your sound. But the plast in digital compressor is the most transparent compressor in logic. Probe. Okay, so that was just a quick crash course into compression. Hope you found this video useful. Remember, some compresses may look slightly different, but they all essentially do the same thing. 4. EQ and Compression Overview Thanks and Bye: Okay, We're at the end of this class. Thank you so much for watching hope. Now you understand the basics of e que and compression that thanks again and I'll hopefully talk to you soon.