Beginners Guide to EQ - Music Production for Beginners

1. Beginners Guide to EQ: Welcome to the beginner's guide to mixing with Egypt. To begin with, a basic understanding of what is and what it does while mixing. But then look at the filter types of ways that you shift your sound. And that you have a clear understanding of what the fundamentals of YouTube mean, as well as techniques to help you, you get better results were using no dq, simple mistakes of pitfalls to avoid and will allow you to achieve a better mixed town in the long run and then will practically EQ fopen start to finish. Yes. 2. 1 What is EQ: So in this video, we're going to try and explain to you what an EQ is. Probably going to alter the way you think about an EQ. Essentially what an EQ does, it allows a change of amplitude at frequency. The way to think of this is think of your mixing desk. And we've just got the logic mixed up here on this very simple mix. And at each point we've got a fader and that fader that can adjust amplitude, so level of that particular element of the sound. So if we play this track back, trying to talk the talk better bucket or worse, you better back down. I'm just be constructs now assess what got you fly, tries to explain yourself not affected when apart you down is FOBT Cree still rep in the west country fan at all? We see that different levels of the different parts of the audio. And if we solo this second one here, which is the main vocal, which only here the main focal. Trying to talk the talk. Better, bucket, bro, Well she better. Now if we adjust that fader, we adjust the amplitude over that particular piece of audio. Trying to talk the talk better bucket role. Well, she better back down. If you don't stop pounds. I'm just B. And we can do that in context with all of the other parts of the audience. Trying to talk the talk better bucket ropes, you better. Assess what Bootstrap is going home to embark on. Well, what Iike really does is the same thing, but just the crossed the one singular sound instead or across a collection of sound. For example, if we place an EQ just on the main vocal here, we can think of these points, much like the faders on the mix channel, but instead of controlling the amplitude of a whole sound, they just control one small part of that specific sound. It's exactly the same principle and many EQs once we have a node selected. So for example, we've selected this light green colored one here, but actually adjusting it in amplitude, much the same as we would be on a mixer. Obviously, we've got these slopes either side and who dive more into those? That's all that's really happening. It's changing the amplitude of a part of a sound rather than how a mixer affects the sounds that are sent to it. It's the same principle. Now what this means for us is that we can adjust the amplitude or level of specific parts of the sound, perhaps something that's too loud or too quiet to adjust our overall balance. For example, let's take this vocal, try and talk the talk. Better bucket, bro, Well, she better back down. If you don't stop pounds and just there's a lot of weight in his vocal around the 300 to a 100 kind of range. This could work really well, but equally, it might be too strong. We would lose some of the high-end because when we bring it up in the mix, we're just going to get this area really focused on here because it's going to be the allow this part, trying to talk the talk better bucket, bro Well, she better back down. I'm just deconstructs now, Assessment or disruptors go with what we could do with an EQ is we can control the amplitude of this area by bringing it down, say, two decibels, trying to talk the talk better, buckyball works, you better back down. Deconstructs now, assess which I'm going to try and explain yourself, not afraid. So I want to put you down this rapid West contrary, finally taught a talk. Better bucket ropes you better back down. Alternatively, we can also boost with our EQ and perhaps that to to 3K range here, could use a slight left in conjunction with the slight cut hair just to help flatten out or the retina. Now this is the same kind of difference as bringing our kick drum down and our hi-hat up slightly on our faders, but we're just applying it across one sound. We'll finally talk, talk. Better bucket. You better back down. I'm just deconstructs. Assess what got you. So I hope that helps you understand what an EQ does. As we move on, we'll understand a lot more of the functions we've just looked at here. But this is the primary thing that an EQ lets us do. Adjust amplitude at frequency points. 3. 2 EQ Filter Types: In this video, we're going to go over the common parameters that you would find on most EQs. In this instance, I'm using logics, stock channel EQ, some EQs and some DAWs will come with extra features or things that seem slightly different. But as a general rule, the logic EQ here has the main features that you'll find on most modern DAW EQ's. So to start off, we have three different filter type. We have cutoff filters, and they can be seen here, most left and right in logic. And if we bring the frequency down, we can see what these filters do and a good visual representation here. And we can see why they're called cutoff filters. Any frequency above or below that cut off points is cut away to 0 db. So completely removed dependent on the slope of the cutoff filter and the slope of the cutoff filter in the case of logic is represented here by the 24 dB per octave. Now there are some really common slips of cutoff filters. They are 6121824, and you will see some others as well. So logic supports 61218, twenty four, thirty six, forty eight, more extreme. You very, very rarely see things like 3648 used, but they do have a purpose in certain situations on analog emulation Iike, you not really find these. They're very hard to create in the analog domain F9, impossible to do them cleanly and well. The second filter site we have is called H shelf, and we can see them here though. The second most n on the left and right on logic was shelf. Does it kind of the opposite really, of the cutoff filter allows us to boost or cut continuously from its cutoff point. So here, the frequency, it's working out as 87 hubs. We've reduced by 5.2 dB. And from that cutoff point, it continuously reduces by 5.2 dB after its initial sleep. Now, unlike a casa filter, we don't have a slip of say, 24 dB per octave. We instead have a Q and R key parameter determines that sleep can decide whether it takes a lot longer or it happens quite quickly to get to its maximum reduction point. Notice the faster it happens, we tend to get a boost before the cut off starts to happen. And our actual reduction frequency goes a little bit further back than the initial reason, knows lots of technical reasons for this. Alright, your cutoff frequency here, we've already started to have some reduction. We go the other way with that. We actually start to get a reduction much, much further back, almost as far as one kilohertz here. Even though initially when our cutoff point to not happen until 87 Hertz generally the more subtle the curve or the slope, the more natural sounding the EQ. And we'll explore that as we go off. That filter type is known as the belt EQ. And these are the most common that you'll likely have seen and perhaps use when we boost, we get kind of this wide, wide hilly slope. When we cut down, we'll get something a little bit more narrow, tends to point down a little bit faster due to something called a Q Couple. When we boost bell EQ, it sounds more natural to have a big wide sleep like this. However, when we cut, we can use a much more narrow cute and were less likely to hear that because we're generally removing Pacific frequencies, whereas if we boost them is tend to latch onto them, can generally move across the full frequency spectrum that will tend to sleep ugly depending on the EQ, the most extremes see that happen. And these are used for boosting key frequencies and cutting partial frequencies. Q again, adjust the sleeps, but this time either side of our boost or cut point a high Q gives us a narrow EQ curve where as a lower key value gives us those big, sweeping hills and depths. And those are the three main filtre types. You're going to find the cross pretty much every stock EQ. There are a couple of others that we're going to explore in the intermediate section. But for now, those are your bread and butter for what you're going to need for 85 to 90% of all of your EQ needs. 4. 3 Boost and Sweep: Okay, so in this video I'm just going to explain a technique that you'll see me use a lot which is quite simply boost and sweep. And I just use it to help frequencies and things stand out or can pick them out really easily whether they're pleasant or unpleasant. So I've just got procure up on the screen here is on a vocal bus for this track. And I'm just gonna show you the technique. So I'll take this one here. You get rid of em were just clicked at a point. Then what we do here is we're just going to boost up a point on a bell EQ. Most of this, I'm going to have quite a narrow spectrum like that. And we're just gonna use the frequency control here and just scroll through and sweet three. So this is on the vocal site. We can solo. Il heard me gave you plenty of love and sound. Stylish. Wondering, I'm just listening for bits that sound unpleasant or some more pleasant or resonate ill. So for example, in here there's a couple of phrases that pop-out. I gave you plenty. Levin sound style. So just up here is probably gonna be some correct to be kicked. Me gave you plenty of love and sound, but as tiny hurts and C, and now, see me. Now here for example, this page, there's a couple of frequencies this really helps bring out that actually in heart cooks, I would just take note that in there we can maybe do with ever lift and some corrective EQ there, help the body of the vehicle come up a bit more. Ill heard me gave you plenty of love and sound, but hearts and C, and now see me gave you plenty of Levin sand, but as hurts and C, and now see me gave you plenty Levin sound but I study it. Hurts. And now read me. Gave you plenty of love and just say I can hit the tiny speck of resonance. This Voc was actually really nicely recorded, but something like that or just maybe note that that's really narrow q and potentially cut it away. But we're just listening for things that really stick out and stand out. Nothing is the low-end tend to go with a bit of a wider queue there. On procure that using x, I can just click here and roll my finger. Same but actually with the illogic channel EQ. And I want to hear if anything in the Lewin's doing anything useful, ill heard me, gave you plenty of love. And so here we can hit even though we're boosting it, we're not getting any benefit to the vocal. There's nothing really of US down here. Heard me. Nothing really useful to the fundamentals around here. Il heard me gave you plenty of love and some really great exercise for you is to find an element in your track that you're currently working on and use the EQ january key, procure wherever you have access to, and simply do this, make sure you turn the analyzer office part of the exercise. We just switched off entirely here, give a boost to fairly narrow and just have a sweep through and try and listen for any areas that study out ill had me gave you plenty of love and science, but try it with a wider or narrower q as well. Email me. Gave you plenty of love and why the queue can really help you find out places that would benefit from a boost. Later. I gave you plenty of love and sound but Style, hearts and t. And now we gave you plenty Levin sound, but styling it hurts. So very roughly will probably end up with something like that. Gave you plenty of love and sound, but asked hearts, it gave you plenty of love. And so, but yeah, that's definitely helped. So that's just that boost and sweep technique that I use to help find areas that are causing problems could benefit from attention and boosts as well. And yeah, just sweep through sounds. Have a listen and great sandy analyzer office. You can't see those peaks and just do it with the IRS is really good exercise. So I'd like you to try that before moving on to the next section. 5. 4 When to HPF: So in this example, I want to show you a really common use for using the HPF for the high pass filter to remove unwanted low-end that's going to affect another part of your mix. To the EQ that we've got up here is placed on a lead sound that's made with a synth In this particular mix and gain style. And it's got a high pass filter. And then we can see everything here from the a 102 hertz region is rolled off. The reason it's a 102 hertz, there is a section later in the truck where the peaks, you can see here, those fundamentals go a little bit lower. So I didn't want to take those out, but I did want to make sure that none of this low end that was unnecessary. It was there. If I switch off the analyzer and it will take the shelf off, we can see that that is, we can see that there's going to be unwanted low end in here. Look. Well, if that's going to be where we want our kick drum to be, where we want our bass tones, TBI, and serves no purpose in the sound itself. If we were to just put a low pass on and bring everything down here. There's no tonality is just purely subway noise, but it's more than likely that you have in here. So we're taking nothing audibly pleasant away, but it would impact other elements of our mics. So that is why we use this particular filter site to take all of that away. And we can now see that it does that it rolls off. Now you'd be tempted to apply this to just about everything other than you kick and bass. Some people will advise that generally, I think you need to really listen as some sounds really do benefit from having that low end in there. You can try the technique that I just showed you for doing this and having a listen to what's really down there. The other thing is very simply just practice your AMB So on and off and engage in context and see if something is being taken away from the sound in the mix, then you're likely cutting frequency. That's going to be something that you'd want to keep in your overall track. But in this instance, this is the most common use, were just tidying up and making sure that there's not unwanted sound. We wouldn't necessarily here and we're definitely not going to miss that would affect other elements of our truck. 6. 5 Narrowing down tip: In this video, I'm gonna show you a really simple tip to help you get better results with your mixing. For example, let's say we are doing this mix and we're maybe struggling with the main body of the vocal, where struggling to find out what's in the way of what the balances and the temptation would be to go to the vocal and boost up the area. It makes it a lot more sense actually to reduce the amplitude around the other conflicting area and leaving what we want remaining on top because the balanced property or the Sounds good. We've dialed in what we're after. So many EQs have a Excel-like feature. So what I will generally do is put the EK on the master bus like this. Now, the stock EQ in logic doesn't allow me to do this. I would do instead is just get two filters either side here, give them both something like a 24 dB slip number that bring them down to this area here. This way I can hit just what's going on in this area. So I can now tell that I've got some of my Keck, the body, if the vocal, SNF fundamental and the low end of the piano and bass. So now I know what is in the area and what's perhaps muffin in the vocal. I can go in and find those particular things in those areas. Equally, I can tell that this isn't the main area of the vote with a struggling still quite muffled. So we can maybe adjust our focus slightly. This is actually a lot more variable to focus. We can now here, top end of the snare and the piano melody. Some of the base, that's likely going to be our problem, probably around the 500 house. So we drag this back. And now we can hear that bad base firing with the vehicle. Perhaps you are not using logic and you've got a different EQ. Or perhaps you've got a tool like e q2 or IQ E3. I've EQ three as well, but I still use EC2. It's just very, very simple. What this does is I can pick any point anywhere and half the headphone icon here. And this will isolate a band. For me, I can use the mouse wheel just to adjust the Q. So I can use this to do exactly the same thing, but really easily on the fly, check this out. And I use this just to listen to really specific areas when I'm struggling to find things that are firing in a mix. It's just a little tip I thought I'd show you if you've got something like pro Q2, really quick and easy to do, but with the channel AQ, just putting the filter's on either side. Another way to do it. I really hope that helps you improve in your mixes and that understanding about where balances and things are would've been very difficult to figure out how it was kind of the mid-range of the base that was causing a problem. There. 7. 6 AB Testing: In this video, I'm going to explain a very simple exercise and is the AB test for EQ IQ queuing the vocal bus here, I've arrived very unusual, but a very simple EQ solution. We're taking away the low end because there was nothing down here we needed, I've put this step down here is basically a shelf because we've got a resonant frequency inner voice that stands out a lot more than all of the others. We can see it in the analyzer by their darkness and lean and obese. And now I've just used this to balance that out. Now I've arrived at the amount of being, I don't know what does it go? Point naught nine by a very simple AB test and something else is closing my eyes the AB test first off, in isolation, I'm going to listen to the sound and make sure it sounds okay. Now, this vocals purposely distorted and sounds a bit off because it fits well in the mixed. I get that it sounds a little bit strange, but it works in context of the whole trap. Listen. Hover in isolation. It sounds pretty rough. Holidays honestly love as cold, I don't wind frozen. Turner call the AB test is simple. I've arrived at this kind of calculation. I'm going to have the EQ off and I'll make a short leap that I can listen through just as it's about to leak the key back on. And does the second take sound better or worse if it sounds best that were in the right ballpark. Simple as that height is honestly that is cold. I don't win to frozen to the call. That's a view. There's anything London's honestly love us, code on a wind, frozen to the call. That's a view. There's anything ladies honestly, love is cold. I don't win to frozen to the call. That's a view. There's anything ladies, honestly Lever's Code, I don't know when to. You're probably thinking, well, I can't really hear a difference. That's fine. It's a really subtle difference of just pulling down that key fundamental, which is right in the body of the vocal. However, we need to listen to this in context and a beer as well. So instead of just having the vocal soloed, listen to it in context of a truck. And you'll hopefully be able to hear now that the body of the vocal poked through too much and just bring it back to DB was enough just to have it sit a little bit better. I hope you'll agree with me. Now if you're still struggling to hear that the way that I arrive at these particular levels and that point was very simple. There's two exercises that I'll do. I'll either close my eyes and if I'm using something like procure, I can just select the point and just use up and down on the magic mouse to adjust levels in Q. And so I think need to be able to see it. Or I'll stare an object that does not move, like my midi keyboard. We're staring at something and we've got the analyzer up and we can see all the bright colors and door moving across with not purely focused on what's going on. Now, let's try the same exercise we just did by with a force you to close your eyes by turning the screen off. Now I'm not gonna tell you what order I did that end. But hopefully because you were not looking at anything and you would just focused on the sound, it was far more obvious to you what was going on. And if that was the case, then perfect. My point has landed is a really simple exercise. Close your eyes or stare at nothingness and just listen to what you're doing when you've got issues and you can't figure out what to do. That's when you use your analyses and tools and visualize exactly where that frequency is, for the most part, close your eyes. Listen. Does it sound better on an AB test? Really simple exercise when dequeuing. 8. 7 Why Pultec?: This particular layout for an EQ is a hotel. In this case, this is the EU-ADR Paul Tucker authorized emulation, but you'll see other versions that are laid out similar to this. And it's important that we understand why they laid out like this and how they work. The slightly different to the parametric EQs that you'll see. The switches we have here are actually set frequency points. So we have 200 through 2 thousand. There's been seeing just above is listed peak and this is going to be a peak decibel control. We can only go upwards, we can only boost with this section of the EQ. So this is on the piano here. And if we place it at 11000, so it's a wide boost at 100. Now, you'll notice it starts to saturate in the store. And that's a real nature and sound of, of these types of EQ's. So lot of the character that we go for. Now, what I've actually done on the piano is I've got 3K here on the right-hand side. And the maximum amount of peaks. And if we disable it with the switch just here. Actually sounds. This is why did too in the max. Remember we're talking about that high frequency where this is really what I'm lifting up here to give loads of air to the sound and just help this piano stick out in the mix. But hopefully you can hear that how it just lifts up the piano because I'm pushing it so much. It distorts, adds extra harmonics and just gives it that bit of character. Now if we want to cut with these EQs, we have to use the dip sections. And again we have to set the frequency and we push the dip. But remember that this is now actually going to be taking away one of the useful things about this, like we looked originally our filter types where bell curve upwards was nice and Catherine pulled it down, it was more of a point. The same thing applies here. We can actually put this at the same frequency. So I could put this at 3K and the dip is going to cut at the 3K frequency point, but it's also going to leave a boost as well either side of it, because of it being a much wider boost and a narrow cup, it can give a really unique effect. So let's listen to it in isolation. They don't just cancel each other out. And I'll often use a blend of the two together like this to get a particular sound. It is a common technique used with this type of EQ, but there's another form of the pull tech that you might see that it looks like this. And we've got a similar principle from here, the CPS, Okay? We've got both attenuate and boost linked over to here. And for that high-frequency, casey S here, boost is linked to this. However, attenuation is actually linked over here. And then we have a bandwidth. We actually narrow those bands or widen them up, but it applies to all of the bands on here. So that's a quick overlook. Whole tech EQs and just a technique that I like to use with The Boost and cut at the same frequency point. And generally I'm going to use them to lift up atlas of high-end and potentially distort sounds. A little bit of saturation, like you hope the piano just to help it pop out in the mix. There. 9. 8 Vocal EQ: Okay. In this video, we're going to look at how you'd approach correcting a vocal. Now, the vocal part and when he uses just this gave you flip to help you out with your reverb off. Eq that I actually applied in the final version was a Caltech with ever boost and kind of noise, some low end with the different EQIP pulls that can't do that. However, when dude, we're gonna switch those off or leave my other processing. And I'll put in the basic logic EQ away, pretty much any stock EQ you're going to use, you'd be able to do the same job or show you how I would of come to those results and process. Okay? So the first thing we would do is listen to the vocal itself in isolation. And I'm going to take a band usually from the higher frequency and just kind of boost and have a quick listen sweep through with quite a wide band by this gave you plenty. Oven so hard so I can now see. Okay, what I'm listening for here are areas that when they're overly boosted, the vocal maybe sounds more present on nicer, or if it's too boosted, it sounds a little bit harsh or muddy. So for example, up here in the high-end, when this is boosted, me gave you plenty, right, right, right here in 6K, there's some pretty harsh frequencies, the POC through how we're doing extreme boost. But we now know that that a beast around here between 12 cases, the 1.5 region actually sound really nice. Heard me gave you cleanse and then run the 500 was a bit too much, it becomes boxy. You heard me, Rousseau had a quick look at the analyzer and I've seen there's lots of low end, but there's no real fundamental was beyond the 100. So I know probably not gonna need anything that's down there, but we need to have a listen to this area and see if this is worthwhile. So the first thing I'm gonna look to do is address any areas that are potentially hard. So we found that sort of sixth 8K region where it was a little bit hot at times. We're gonna boost that and now we're going to narrow it down. Gave you plenty. And you can hear it there. And we found it quite well. We're going to narrow off even more plague and gave you plenty balls we're going to do is bring that down now and just know that that's going to be controlled and you're going to take out a couple of dB when we play it. You heard me gave you plenty of it's just a little bit harsher. Would just keep taking it out and out until it sounds right. You heard me gave you plenty of it's just going to balance it out. We're going to really focus on this. You'll hear it every time now. So what we need to do is also listened to it in context of the track. Again and as long as it's not coming up as being too harsh in the truck and it sits right. We know we've made an improvement that we would AB, as well. Know something like this becomes persistent. I would look at using dynamic EQ and we'll cover that in the advanced tech sections of EQ as well. Next thing I would do is address this, this low end here. So I wouldn't have a listen to what's going on here and there's a couple of ways I can do it. I could grab a point and boost up these what looked to be sort of fundamental frequencies that are going on. K, If you plenty of love and sound. But I study it, hurts. And so we can hit it. This, this is really the body of the vehicle. We gave you plenty relevance. But study hard, so it's really not any use to us and there's nothing greater than so we actually index of 200 is the lowest disguise. Ill heard me. Gave you plenty of love and psi star. So we can properly high-pass filter in and take it all the way up to something like 180. We'll give it a sleep a little bit harsher than that. We don't need all of this waste, the low-end Korean. So we'll put that on an 18 db, slept more change it. So the Q gives us just the bump here before it goes out. So he's going to have a tiny little bump here on our fundamentals and then it's just going to fade out nice and quick link. Get rid of all this unwanted low-end that we just don't need. You heard me gave you plenty of love and so but yes, it sounds nice and isolation Now the other thing when we were sweeping through, it sounded nice about one-point 5K with boost. So let's do that and we're going to boost it up really, really loud. And when it's too much, then we're going to bring it back. Gave you plenty of love. And so, but for me it sells about there, so nearly afford DB boost, but went way too far and pulled it back to that sounded nice as it was sounded nicer. Pulled it back just a little bit further and knowing that that's probably going to be about right. So this just gives you some context and it switched off, listen through, switched on C If the vocal sounds nicer just with the EQ. And remember we don't listen in isolation, it matters in the mix. We are checking context as well. We gave you plenty of love and sound, but I started hearts. Now, read to me, gave you plenty of love and sound, but I started such a hard sell. The same is true and I can hit the cytosol nicer. I've taken this too far. This definitely nice to dial back, probably by as much as half for wheat it to bring it back to ADP or psych. Same style, the same shape. Okay, now I skip my very cuz pretty natural in terms of EQ and not go too hard. However, ending on new situation, like unlucky here, this focus really, really nice year might have frequencies that pop out and things like that. So how would you deal with that? Well, let's take another band that we haven't used, green one here. And we're gonna get quite narrow and we're going to look for things that are poking through through this 800 doesn't stick through a little bit less exaggerate that context. Gave you plenty of love and sound, but you can hear what that's doing. This really exaggerate it. You get this horrible oxytocin. And sometimes it's happened when the vocal gets recorded and a web get picked up, gave you plenty of love and sound. But as I say here that the way to find the eastern look kind of Philae spikes, you're going to use analyzer here. If you don't have an analyzer, make a peak like this and sweep it along. Don't be so harsh or it can make anything sound like let's say you want to dial it back, you're going to try and find where those peaks up, 500, sorry, 403 to eight hundreds. And usually it could reach into having this issue. You heard me gave you plenty. But I study hard so they know when they heard me say that it's not a particularly nice as frequency. And what we'll do is have a nice narrow spike. Maybe now even more per litre is going to dip it away. Anyway, to be transparent, we dealt with this huge spike in necessarily we want to be kind of saw like 60 BCE probably as far as I'd ever want to caulk something away like this. If it's beyond that kinda EQ treatment that you're going to be struggling, but something like that. You heard me. I gave you plenty of love and signed. But as stylish. And even this phaco benefits a little bit from that being cut away because it wasn't a particularly nice frequency. Notice as well that only happens at particular notes. So if you find this particular note that's being played and you're hearing that, and find out if it's going to be the harmonic series of that particular note EQ away that way. But that's how I would approach getting evoke with um, and yeah, as you can see in the final truck, it's pretty much the same thing just done with two different EQs. And we got good results. A sky survey. 10. 9 Dynamic EQ on Vocals: Okay, so in this video, we're gonna look at our use of dynamic EQ on something like a vocal to maybe team some harsh highs. In this video, I'm going to use procure three because that has the ability to switch individual bands into dynamic mode. But the same can be used of something like neutron, for example, that's also a dynamic ie QC or even the Tokyo dawn Nova parlor vocal we're going to look at is just here. Listening and seeing the graph here, we can see a particular jump just here up around that the 56K can really catch it with the air. Just that. So what we would do with a dynamic EQ would abandon, just like so with actually do then is we would dial in, cut around the area. Probably narrow alphabet looking to just take it down by somebody like 3dB, which probably do the job. We also need to switch this into dynamic because this would now be cutting out some of the top end of the vocal, even though those key moments, we don't want that to be happening. So while it's taming that harshness, it's also taking away a lot of our data sets. But listen to dynamic mode, which stood a little drop-down here and make dynamic or FAB filter. This gives us an extra little dial in here or we can wear it automatically done, but we can switch auto off and then we've got a threshold control here. So what we need to do is find out where that jump happens, that we can capture the and that call it pretty much perfectly in fact would actually give it a little bit more breathing room. Okay, somebody else we can do now is basically how much this is going to be applied. So we could bring the dynamic range B and actually three dB lower than perhaps almost take this off. So it's now just gonna cut 3dB at that key moment. Hopefully you can hear the difference there. So what we'll do is just isolate short passage of it without stands. That's just a really simple, it's just a really simple use of using a dynamic queue, a dynamic EQ to capture just that one moment that affects a vocal without having to apply a dip to the overall, a DSA does a very similar thing with, this is a much more subtle way to do it. 11. 10 Dynamic Examples: So in this video we're gonna look at a dynamic EQ with an additional benefits. We've looked at how we can use it to tame, say, a harsh peak in a vocal. And we could do that with something like a IDS or even multi-band compression, where dynamic EQ really comes into favor is the fact that we can still treat it like an EQ as well as offer that control. So much like the previous one, I've placed procured theory on the vocals here because we're going to use her Q3 as our dynamic a0 cubed if we solo the voters. Well, I'm me, I'm liberal law. No matter what they do see, you know, weekend. There's not really anything that stands out as being bad, apart from a really small S jumps in around here, no matter what they do see, you know, wicked phase. We can actually see it pop up around ten k, can visually see it as well as catch it with your ears. So let's try and just highlight what we're looking for here. Added six db there. It should really stick out no matter what they do see, you know, when we go. So let's make this a dynamic band like we did before. And let's reduce it by as much as six db. Really narrower away would take you off of water. And we're going to try and find that good threshold matter what they do see, you know, weekend phase, no matter what they do see you're no weekend phase no matter what they do see, you know, weekend. Yes and no, it doesn't get touched until that extra S really pokes through that, no matter what they do, see it, no matter what the benefit here is, we can now also continues to treat this like an EQ. For example, the high-end of this folk why she sounds okay, but if we wanted to, we could now still offer a lift in the vocal and perhaps increase the brightness. And we're still going to be able to tame that really specific area with the dynamic EQ matter. What they do see you, no matter what they do see, you know, when you bring it down further than before. Matter what they do see, you know, weekend. Now we have given a nice high-end lift to the vocal, but we're still taming that particularly harsh area without a dynamic EQ would have to pony cutaway that area or would be compressing after we've done the left, which would likely negate a lot of the lift that we've already created. Another benefit TO dynamic usurious, which actually go the other way with that. So around the 2K reason this vocal sounds quite nice. We could give it a boost like so. And that works, but we can make it feel a bit more dynamic and natural again by using dynamic EQ. So let's turn this into a dynamic band. We're going to bring it back down. And instead, we're going to have the dynamics push upwards like this. So now when the threshold is crossed and there is an area within that part of the vocal that could do with the left. It actually lifts up naturally with the dynamic EQ. Thanks. Omnivorous happening. No matter what the optimal rules on land. I'm leaving. This listened to the hoBshare S off and then see if it's improved. Our vocal lambda one and lambda one. Lambda one, lambda one. So there we've controlled the harsh sounds only pop up at specific moments, but we've also been able to lift up the nice sounding key area of the vocal in a really natural way using dynamic EQ and not sure EQ bands. And this is our advantage of dynamic EQ over something like multi-band compression or a DSA. 12. 11 L & R EQ: Some cases you might be working with a sound that in stereo but has different levels and different textures on the left and right channel. Key example would be in this track here, have this short string step, clearly balanced differently, left and right. And in instances like this, you want to use or simply called left-right EQ in logic, when we open up to the stocky, Q, will have an option here that says processing. Most DAWs will have this to some degree, maybe in a different location or named differently. But we can do a few things here. We can go left only, write only MIT, only excite only at the moment we're going to look at left and right only mid-side will be something we'll look at shortly. For example, by now choose left only this EQ while on a stereo channel will now only process on the left channel. For example, if we put a big bump here, will be able to hear the difference. Now this can be useful to control sounds balanced differently with the left and right equally if the frequency is different in the left and right, for, say, the low-frequency, we might want to use to EQs one's left on him once up for write only that have two different hypothesis as perhaps our cello, for example, might be panned little bit further to the left or the right. This also allows us to do things like boosts and cuts in different areas. So we can have the high-end really stand there on the right-hand side. This could be a mixed choice to help be. A might suit WHO overall track better? Talking about the low-frequency, if we look at the harmonic, the pops-up around 300 hertz here, we can see it's significantly louder on one side than the other. And we can see that because we have a readout to show us. Another instance where you might want to use it left and right separate EQ drums. Drums are often mixed in a bus and we'll have some hard panning like high hats off to one side and crashes after another. It may just simply want to tame some harsh crash sounds on one side of that individual mix. Especially if it's a live germ cell recorded just with a dual Mike system. That's how we would independently each year, just the left and right channels separately. Let's now have a look at some uses of mid side EG. 13. 12 Mid Side EQ: Okay, so let's have a look at mid side Iike to, on the screen at the moment is a plugin called HEK. And I've got the up because it has midside bill into it. Rather than having multiple EQs open at any one time, we can just use this as an example. And in this track here, I've used that to remove the myths of a sound and EQ just the sides. So what does that mean? Well, what we'll do is we'll so the jackets on culminate, that will guide me through biggest. Hopefully you can hit that's made really, really wide. And I've done that by using a couple of things. I've sent it to a delay and I've used this midsize ID QC, remove the midsection and just enhance the left and right-hand side. So if we can just listen to this. So hopefully you can hear here that this is just this side of the vehicle. If host to boost, that is kind of no middle, right? If i bring down this slider here, which is the sides, and here is the center. That's actually the middle. So together we have the whole vocal in a stereo field. You can kind of think of it as this is the money. And this is the stereo. So I've got the original vehicle here. And that's going to be doing with the middle work. And I've EQ the side separately just to have a little bit if left to give it that really why feel when all of the vocals together to go? Well, if I was to adjust this hair and make it feel even wider. So take it away. Can follow, far more central, can follow. So let's have a look at another example. Let's take the genres of this track. And we'll use a different EJ or yeas. And perky three works in a slightly different way. Instead of having those two different modes into different sliders, where we create a point impro QE3, we can choose what this particular point is going to do here, stereos. And may we always use the left and right channels equally, but we can separate them so we can have it, so it's left to the right. We also have mid and side. So now this is a mid only EK. So I could deal with the Trump's here is if I was to make this, say a lookup, I can remove all the midst of the drums. Have a listen. We're just left with the stereo field. O to change this to stereo photos, changes to the sides. I can do the same thing, but it will make the jump is completely Mano knows I kick his left alone as fun. So for example here, I could take a mid color and I could cut away just knowing the or the highest would be left-aligned equally if I were to ensure that nothing was gonna compete with the Keck. And we know the kick is purely in the mid channel because we can remove it. And I could make this a side. I'll throw this away just about Keck. And now nothing. It's going to be stereo below that point. And we will not interfere with the kick drum. So these are a couple of uses of midside EQ and two examples of EQ's support mid-side options. Again, the stock one in logic does this also. But again, like before, it's not quite as ergonomic and we can only have emit only or psi n0. We can't do both or within one GUI.