Transcripts
1. Introduction: Hey there. Are you tired
of your tracks lacking that professional edge like
this one in the background? Something seems odd, isn't
it? Give me a minute. I'll just fix it. There we go. Did you hear the difference? That's the power of EQ. But mastering EQ isn't
just about taking norms, it's all about understanding
the intricacies of frequencies and knowing how to sculpture your sound
to perfection. Welcome to the Q Maas class. You'll learn everything
from the basics of EQ and the in depth
science behind it. We'll cover topics
like audio spectrum, different types of EQs, and much more, making you to
master it like never before. Come on, dive in and shape
your sound with Q Maas. Class. Today, I'll
meet you in the class.
2. Let's Get Started !: Hey, there, it's Harry. Welcome to the world of Q's. This lesson will guide you through the fascinating world of equalizers in music reduction
and audio engineering. Whether you are a
budding musician or an inspiring audio engineer, understanding EQs and
the various types is crucial for creating
and mastering sound. What exactly is an
Q, Q, or equalizer? Or an audio equalizer is a tool, use audio production to balance the frequency
content of an audio. It can either boost, cut, or attenuate specific frequency ranges to shape the sound. Let's imagine you have a track and you love the
bass frequencies. In order to listen only
the bass frequencies, all you have to do is just isolate the entire
bass frequencies. How do you acho it? You ache it by using the
equalizer plug in. Let's say if you have a track that lacks a lot of
high frequencies, you use an EQ plug in and boost the high end of an
ecozer that will give you more clarity in the
high end of the track. Similarly, there are a lot of ways you can mess around with the EQ to shape your sound and get the
desired sound that you want.
3. Audio Spectrum & Harmonic Series: Now let's explore the
audio spectrum and its impact on music
mixing with EQ. The audio spectrum refers to the range of frequencies
that humans can hear. Spamming from 20 hertz
to 20,000 herds. Notable terms including
frequency herds, waveform and harmonic series, which we will discuss in the later lessons why it is important to
understand spectrum, human hearing changes with age, with the higher frequency
range being more effective. Commercially
released tracks need to be tailored to
the systems that generally play sounds within the 20 hertz,
20,000 hertz range. Player. Certain frequency sounds are felt more than heart, especially for the basis. What I mean by that is
when you're younger, the hearing is much
better than being old. If you're 60 or you're old, then the listening capacity
of your hearing will lose. And you'll probably
hear around 20 hertz to maybe eight hertz
or ten to 15 hertz. Ten to 15 hertz is like, you can't hear the ten to
15 hertz when you get old. So that's the main thing. And another thing is, as humans, we hear like
20 hertz, 20,000 hertz. But when it comes to animals, each animal has its own capacity to do hear frequencies
in a different way. To understand this, let's dive
into the practicals here. As you can see,
there's a sine wave, it is represented
by a smooth curve. Frequency measures how
many cycles of vibration occurs per second and
is measured in hertz. Higher octaves have
more cycles per second, and thus high frequencies, lower octaves have less
cycles per second, and thus those are called
as lower frequencies. Higher frequencies are
mostly referred as treble, and lower frequencies are mostly referred as sub
base or low mids. Other complex waveforms
can be created by layering multiple sine waves
at different frequencies. For example, if you
take a sine wave and also if you take wave, it creates a different waveform that can sound very different
than the sine wave. As more sine waves are layer, the waveform can transition from sine to square
triangles, et cetera. There's a term called
harmonic series. Harmonics are overtones that naturally accompany the
fundamental pitch of a sound. Instruments have
unique harmonic series contributing to their
distinctive sound. Let's take a practical
example of harmonic series. There's a loop
going on over here. This loop is actually in major, but when you take
the nodes filter, you go through the different
types of nodes given over here you can hear the ring M, M. So basically whatever the
instrument of the sound is, it is entirely in
a harmonic series. When tuned in 40 hertz. Different instruments
have varying harmonic series and
sound qualities. Due to construction
production methods. All sounds are
vibrations transmitted through the air which
are ear pursue. That's why it is
necessary to learn the audio spectrum and
the impact on music. Mixing with an equalizer. Equalization involves
adjusting frequencies to enhance or alter the
character of a sound. Boosting or cutting
specific frequency ranges affects the harmonic content and the texture of
the sound as well. Boosting frequencies related to one instrument's
fundamental pitch can enhance its
presence or weight. Yeah, when you're actually
dealing with the EQ, you're also dealing with the harmonic content and
the texture of the sound. Remember that in mind. And treat the changes as per your liking and stay
careful while doing it. Understanding the
audio spectrum and its component is
essential for musicians, producers, and sound
engunits to create the balanced and
impactful mixes. It allows for
precise control over sound characteristics
by manipulating frequency ranges and harmonics. It's important to understand audio spectrum and
music production.
4. Types of Equaliser Filters: Before deep diving into
the different types of Qs, we have to first understand the basic filters that
equalizer offers. Here I've got a
filter, proc three, but he's a widely used equalizer
in the music community. Let's actually learn
different filters. First one is a bell. What a bell does is similar
to the peak when it's ragged, you'll find a bell like structure inside the
frequencies that have been affected by this
filer will gain or attenuate depending upon
where you're targeting. The next one, the low shelf. This one actually focuses
on low frequencies. It doesn't entirely
cut the frequencies, but it actually focuses
on low frequencies. It allows the low
frequencies to be affected. Similarly, you can actually
take this filter and you can direly affect the
frequency range also. But this doesn't happen often. You have to just be
careful and trust your ears and manipulate
the frequencies. The slope of the
shelf here can vary, and it affects the transition between affected and
unaffected frequencies. You can actually change the slope by changing
the E over here. Now you can see the
slope is changing. You can actually change
depending upon what you're looking for and thus you can get
the desired output. Similar to the low shelf,
we have high shelf two which only focuses
on high frequencies. Similarly, you can also change
or the bandwidth we call. Next one is a low cut local. It eliminates tire
low frequencies, that's why it's
called a low cut. It cuts the low frequencies. It only allows the high
frequencies to pass. Similar to low cut,
we have also high cut which cuts off the
high frequencies and only focuses on
the low frequencies. It entirely cuts low shelf. And high shelf can
actually attenuate only for certain DB or so. But what high cut
and low cut does is it entirely cuts
the frequencies. That's the difference between
high shelf and low cut. Sometimes a lot of beginners actually get confused
over these two terms. We have to keep this
in mind that low cut is not equal to high
shelf low cut cuts, the entire low
frequencies and high cuts entirely high frequencies. You have to keep
that in mind and make the decisions accordingly. Low cut is also known
as low pass filter, and high cut is also known
as high pass filters. These are the same terms actually are used differently
among the producers. Next comes the notch filter. This is quite extensive filter. It is rarely used actually, but it creates a unique sound depending upon which one
or you're going through. It affects a lot of frequencies actually because of its slope. I know we can also
adjust slopes, but it creates a massive effect to the sound you're echoing. It actually attenuates
a narrow band of frequencies while allowing
the rest to pass through. Essentially a combination
of high pass and low pass with a
specific bandwidth. Mostly it is used as a surgical correction of
problematic resonance. What I mean by that is if we have a deep problem in
the high frequencies, you can actually make this
band a little narrower and the frequency is going to
solve using the not silter. We use not filter mainly in the high frequencies or
in the mid frequencies, Not that highly used in the low frequencies,
to be honest. A lot of ring and other artifacts are mostly found in the mid frequencies,
in the high frequency. Also we have a band pass. This is known as a
band pass. Where does? It actually is a high cut
in the low cut filter, it only allows the frequencies
in between the filter. Basically, it is used to isolate a particular frequency pan
for emphasis or control, creating a unique filtering
effect in electronic music. Mostly you can actually use
a band filter to focus on the mid range frequencies
of a guitar recording while cutting lows and
highs simultaneously. These two bands over here is
only available in Proctor. I guess I mostly use procutory I found only in the procut
but not another Q. To be honest, what it does is tell shift
when I drag this, it actually shelves
low and shelve the highs, similarly
the opposites. Then we have a flat tilt. It's just a tilt like this, that's it, but doesn't have
any slopes, just flat tilt. We don't even use
shift because we actually find a lot of
transparency in other filters, you can actually find this useful in certain circumstances.
5. EQ Filters with a Practical Example: Now you know how
each filter works. We'll see everything
in practice. So I've got a guitar loop over
here. We'll play it once. Now I'll go through each and
every filter so that you can understand how
each one is working. The first one is bell
filter, as we discussed. You can see how
the filters work. You can even target
a large number of frequencies to have
a greater impact. Or also you can attenuate. You can choose the
desired sound that you're looking for and make the
changes as you want. The next one is the love shelf only affects the allowing
the highs and vice versa. We can even add a gene age. Next one is the low cut. I can see that it entirely cuts the
frequencies in the low end. When we adjust the E, it becomes even more steeper. And it can now hear
only the mids. And the heights next
up is the high shelf. It allows low frequencies, as we have discussed before. The queue is narrower. You can see how it actually brings up the brightness
in the guitar. Now the high cut, only allowing the low end. This filters call us, not as we have discussed before. As you can see, it actually is more extensive
and it can affect a large number of
frequencies by narrowing, mostly used as surgical Q, you can have a
precise transparency on where you want to cut
a specific frequency. This is a bad pass, just a combination of
high cut and low cut. This is still shut only
can they seek you. I guess last one is the flat tilt. Now you know how we use
the filters or we'll dive deep into the different
kinds of cues we have. And let's learn those
topics in the next lessons.
6. Shelving EQ: Let's see, what are the
different types of EQs first. The first one we are
going to discuss about is the shelving. Q. What is the shelving? Q Shelving Q's offers simple tone adjustments,
and that's it. They can be standalone or a part of a large parametric EQ. They include low and
high self filters, a frequency selection option
and slow adjustments gain can be added or removed from the shelf or significantly
alter the sound. This type of EQ
is mostly used in 1960s and the old days Later, a lot of technologies
came across and shelving Q's lost its potential in
making in the music industry. But yeah, there are a
lot of producers and engineers use analog shelving Qs to color the anti tracks, which we will talk about
in the later lessons. Shelving Q's are used to make significant
adjustments to the sound. Only by manipulating
the high, low, and the mid end, The
sound's overall tonality can be dramatically altered. This makes shelving
Q a powerful tool in the hands of an
audience engineer. Let's see what is shelving Q in the practical
example over here. Yeah, back in the day there. This type of an analog Q called 550 A API
550 A equalizer. It is basically
shelving EQ back then. Now this is an emulation
into a digital plug in. Basically, the shelving Q just contains three
bands, that's it. One band is for the high shell, one band for the low shell, and another one for the peak. Also mid frequencies. Actually, we can't just target basically the
specific frequencies as you can see over here. But this is a plug in
from waves API 550, a equalizer, which
is a shelving Q. But actually this Q allows to target
different frequencies. Technically, it
becomes shelving Q, as well as a graphic
Q similar to this. I felt studio provide shelving
Q in the mixer itself, this is how it looks like. This is for the low
shelf, this is a peaking, this is for the high shelf, actually how shelving
actually look like. But I would like to take this as an example because most of the shelving act back in
the day was just like this. Now a lot of companies like
we actually resembling and actually recreating
the harmonics and its features with the
help of a technology. They are making
these emulations and now we use them as plugins in our digital
audio workstations. Let's explore the bands and
everything in this plug in. First of all, we see the
output meters over here. This start over here is
output clip, the three bands. The blue knob over here is for taggering
different frequencies. This white band over here, these two are just the Gaines
is similar for every band. This one over here is a
filter, band pass filter. When he turned on it actually
creates a band pass of 50 kilohertz to 15,000 kilohertz.
What do I mean by that? It creates this band
in the background, resulting in less gain in the low frequencies and also in the high
frequencies as well. You can see the three
buttons over here. One button over here
is a low band filter. Another one is a
high band filter. This button is for
bypassing the plug in O. Here we find the output here. The trim in this case, I guess it's automatic trim. This one is the analog pattern. We'll know deep about this
thing in the related lessons. This thing over here
is the phase larity, which actually is not that useful for beginners right now. Let's just play the
entire loop and we'll dive deep into these knobs and settings and
see how it works. First off, this is how
the shelving Q works. You target different
kinds of bands, my bad. Let's say I just want to
target 10 kilohertz frequency. Or here, if I want
you to turn it down, I have to cut the high
frequencies like this. Now you're hearing
only a little sound in the high frequencies, for the low frequencies. Similarly, you have to
target frequency first. Here I'm targeting 200 hertz
to caudate for minus DV. As you can see, this is how
the API 558 shelving Q works. If I want to cut everything, it does a lot of
dramatic changes. If you want to actually
bypass the whole thing, you can actually
click this button. This is about a shelving. We will know what is traffic
Q in the next lesson.
7. Graphic EQ: The next one is a
graphic Q. Graphic Q just simply provides a visual representation
of Q cours and that's it. They're basically ideal for tone shaping during tracking and provide a hand one approach
to EQ adjustments back then. Actually, graphic Q's are widely used just because there's a new EQ in the market with numerous pans for boosting and actuating
specific frequencies, making them user
friendly and versatile. Let us now explore the
workings of a graphic. Q O. Here you can see there
are multiple bands. One is at 16 K, another one is sets 8k4k, 2k1k, 502, 51 Ninty, 56321. Actually, you can only target these specific
frequencies, and that's it. You can either
increase again up to 12 DB and decrease
up to 12 B as well. The rest of the
settings is similar to the shelling Q that
I've shown before. Let's see how this
works in the context. Let's increase some 125. Let's now you can hear that the kick actually
lacks a little bit of thump. And let's also
attenuate some eight K, let's say before an after. That's it for the graphic Q. The only difference between the graphic Q and the selling Q, that it actually provides various types of
frequencies to target graphic is the first that was introduced with multiple
frequencies to target on. We'll know about in
the next lesson.
8. Parametric EQ: Next is parametric EQ. Parametric Qs are widely used
in professional audio work. In every digital audio
workstation you see, they only use a parametric
EQ for their work. They are known for their
adjustable frequency bands. You have access to all the
frequencies in the audio spectrum that you can make adjustment and manipulate
audio frequencies on. It also has bandwidth
so that you can adjust different bandwidths and they allow for precise adjustments, making them ideal
for tunal tasks. All have discovered the magic of parametric EQ and
how it operates. This is a parametric
EQ in general. Basically, you can actually target the frequency
you want over here. It's up to you to target
according what the song needs. This Q actually
provides a lot of transparency and you can
just tweak it as you want. Basically, right now,
every music producer, audio engineer
uses parametric EQ and it is a two Q
for every producer. Also, it comes with
a multiple band types so that you can have a precise setting
and up to plus or -18 DP of gain addition
and reduction. You can also control
the width of the parametric EQ of a
certain frequency so that you can actually affect a wide range of frequencies
or a narrow frequency. Let's see that in action. Let's remove the anti high
frequencies and control its width as you can
hear the reference. Right now, it's targeted
at 8,000 herds. This is a parametric EQ. Now, with the help
of technology, a lot of engineers actually made this even more fantastic. This is a parametric EQ which is only available
in FL studio. You can literally have a lot of transparency and a lot of
control in your hands. You can actually track
and make changes. You can target
specific frequencies. And was holding a dragon, we can scroll to
make that width, to make this frequency
band wide or narrow. That's about the parametic Q. It's a very widely used
in the music business. We'll learn about linear
face Q the next lesson.
9. Linear Phase EQ: Now let's explore how
a linear phase Q work. Alineophaseq can be particularly useful in situations where preserving the
phase relationships among different
frequencies is crucial. Alineophaseeq is basically
mostly used in mastering. When mastering, you
often want to apply equalization to enhance
certain frequencies or correct imbalances
without introducing any phase shifts that can affect the overall clarity and
imaging of the music. In order to do that, we can't use a traditional
parametric EQ, because when you use a
traditional parametric EQ, it often deals with clarity
and the imaging of the music. It actually affects
entire clarity. You might actually create some imbalances with
introducing face ships. Facts are like artifacts that a traditional Q can
introduce to a full mix. But in the case of LineophaseQs, it's totally different because lineophaseQs are
valued in mastering scenarios for their
ability to make precise adjustments without compromising
the phase coherence, resulting in a cleaner and
more transparent sound. Let's see that in
context of the mix here, I got a full mix that I've been working
for a client lately. Let's hear it, and then
we can deep dive into different Q's to understand
their importance. Awesome. I've got two Q's. One is a fruity parametric EQ, and the other one
is a linear face Q. We'll actually tweak settings in both of these,
as you can see, both of these actually the same bands and the same
type of filters. But in this case,
in the linear face, it actually has a
special low band that can only go from her
20,000 hertz actually. But mainly it's entirely
focused on the low end. Things actually, similar to the parametric, are over here. In the parametric, the
frequencies are over here, frequencies are over here. The gain, we can adjust again
over here and here as well. Let's tap deep into the settings so that you can know the difference
between the sound. Let's hear the mix once again. And let's apply the Q
to know the difference. Q Okay. Just want to hear the kick. I just said the kin to minus B. Let's hear how it sounds like will do the same in your face as well. Also, I forgot to mention that linear phase uses a
lot of processing power. The CPU latency is so high when you're working with a song or when you're
working on mastering. Yeah, it's a little
CPU extensive, but it actually
makes the work done. As you can see, we
have actually created two man over here targeting
exactly the same frequencies, 1 hertz here, 140 hertz as well. We actually attenuated
the frequencies to -3.1 here and three
here. My bad. Yeah, it's actually of similar hearing to the
sound with these two EQs. But let's see when we
attenuate even more, I'll take that knob
and make it 60 -60 B. Now you can hear the difference. As you can hear, it actually is introducing some face
shifting artifacts, which in some cases
most of the producers love depending upon the
genre they are working. But if you want to clean mix
actually an does your job, we'll take this and attenuate
even more up to 60. As you can hear, it's just clean and it makes the work done compared to the
traditional parametric EQ. Let's B both of these, so let you know the difference. So, first of all, this is a mix. But now I'll add
a parametric EQ. First, focus on the low end, how it actually adds some
artifacts over there. Now, the end of PaceQ, the low end, is much more clear than the traditional
parametric EQ. A. Q Liner phasic Q. So that's linear phase EQ works. We'll know about dynamic
EQ in the next lesson.
10. Dynamic EQ: One type of EQ that is worth
mentioning is dynamic EQ. So what exactly is a dynamic EQ? A dynamic Q is basically
an EQ that has been built on top of a
parametric EQ by making bands dependent
on input signals. It is useful for DS, controlling resonances,
and dynamic control. Dynamic EQ is a powerful tool for various processing
techniques, and can be set to activate
only when needed. This is in fact a smart Q, but instead of smart
and intelligent, we only trigger a
certain threshold for the audio to come in. And only the dynamic EQ works. We can trigger when a dynamic, so when a dynamic
shouldn't be working, we can attenuate and boost the audio signals by
our desired gains. This is very powerful
and very sensitive to. Let's hear the mix first
and we'll dive deep into the settings P. Let's say I just want
to cut the kick. I cut the low frequencies but
only the kick hits, right? So all I have to do is just tal, the frequencies don't
have to set a threshold. As you can see, it only affects that frequencies
only when the kick hits as before, after. As you can see, it
actually works like magic. It's literally a part equalizer. In a modern day mixing
and mastering dynamic equ actually helps in managing the tonal balance in
various parts of a song. If you find a love
frequency that is actually pushing the track
to sound kind of, you can actually
target that frequency. And you can set a threshold up to where you want to take
that frequency down or up. Actually let the frequency
up to when the kick hits. Instead of going down
the equalizer act and, and gains the volume
up up to plus 3.89 B. Let's hear that in
context as well. See it happens only
when the kick hits. Let's focus on the low
price frequencies. Another base is wide. This is how a dynamic Q works. We'll learn about intelligent
in the next lesson.
11. Intelligent / AI EQ: One such Q, which is great in the modern
day mixing and mastering that I'm eager and excited
to share with you is the intelligent EQ or
the AI Q you can call. I think it's not basically
an artificial intelligent, but it is very intelligent, and it actually makes
the full mix to sound brighter and
pleasing to our ears. I have over here
is the Gulf Force. Q. This Q. Actually makes the more
work in real time, giving you a cleaner,
brighter mix. Let's see that in context, everybody as you can hear
the high frequencies actually sounds so good. The bright works like pass as you can see. It
just works like magic. It analyze the entire
tract in real time and the work is literally so good and
pleasing to our ears. We'll see before
and after to know the difference as we hear. Version is my, not
that my kind of muddy, but when we activate
the plug at once, you can hear the difference. This is how the
intelligent Q's work.
12. Coloring EQ: And finally, the
last Q type that I want to share with you
is the coloring Q. What basically the coloring
Q does is it actually adds some harmonics to
the entire audio signal, which wind heard gives a pleasurable
harmonic sound that can literally enhances
the audio track. A lot of audio
producers and mixing engineers uses coloring Q
in the mastering stage, but also in various instruments to give the instrument a
little character to it. It also gives warmth, which is very pleasurable
to hear in the mix. Let's see how a
coloring Q works. I have a guitar loop
over here displaying it. 135 PPA. Let's hear it first. As you can hear is so cool. It's played by my friend. What a coloring Q does
is it adds color to it. I know it's self explanatory. It actually gives
the audio signal a little bit of
saturated harmonics, and a kind of warm
to the sound that makes the audio signal
so pleasing to our ears. I have the API fired
55, 60 stereo. Now you can ask yourself, this is a shelving Q,
and this is a graphic. Q. I know you are right, but there is a analog
button over here. That analog button
gives us the color. What I mean by that is
when we make adjustments over here and the analog
knob is turned on, it actually creates or
emulates the windage style 550 as harmonics and saturation to the digital
audio workstation. Let's see that in context. So we'll turn off the
560 stereo first, I just want to raise some weight frequencies a little caret, three Gods also add some high frequencies as well. I know it's kind
of hard to hear, but actually the ads of color and harmonic distortion over here in the audio track. Let's now take 563
equalizer and let's see, you can actually hear that
in the high frequencies. And around four K
to ten K is range. It is very simple and
it's not that noticeable. But the entire audio touch
of harmonic distortion, which while mixing and
mastering could be very useful. That's how a color work.
13. Usages Explained: Okay, so now with a
wide varieties of EQ's, one will definitely get confused when to use
and when not to use. So this lesson will
take a deep dive in when to use a specific
EQ and when not to use it. So cover it step by step by mentioning the EQ name and when to use it and
when not to use it. The first one is the shelving Q. Basically, shelving Q can be used only for just filtering. For example, you might use a shelving EQ to boost the
base frequencies in mix, giving it to warmer
and fuller sound. You can't target a
specific frequency and then you can cut or
boost the frequency. It's not that useful in
making some decisions in Q where you can't target
a specific frequency. So most of the music producers
and audio engineers use shelving Qs just to boost
the pace frequencies, or the high frequencies, or the mid frequencies. And most of them use shelving
Q's as a filtering Q. When it comes to graphical Q, it is actually ideal
for tone shaping during tracking because it
provides a visual curse. And it definitely has a specific bands so that you can target a
specific band actually, and then you can fix the frequencies
according to your needs. Basically, graphic EQ
provides various frequencies so that you can make decisions on that only specific
frequencies. That's the only place where
a graphic Q can be useful. Also, it can't be useful in targeting specific
frequencies. The precise frequencies
that you want to take control of, it
doesn't work there. The only EQ that can work very good in all tasks
is a Parametric EQ. These are widely used and it's a Co to Q for every
audio engineer and music producer because
it provides an access to precisely target a
specific frequency that you want in
an audio spectrum. This is a powerful
tool for audio tasks. You can also high
pass, low pass, you can filter in some plugins, it features a midside EQs and some plugins doesn't have
the midside EQ option. Parametric Q's are very retile and excellent
for tonal adjustments. This is a Q for every music producer and it actually work in
every situation. So you can use it in every
situation to be honest, but actually it can't give
that warmth and you know the analog feel to the audio track that
you're working on. So another one is
the linear face EQ. The linear phase EQ maintains a phase relationships as
we have discussed before, the only thing it has is it actually produces
a high CPU load. Of course, there's a lot of
latency that can happen. And it also produces some artifacts that might
ruin some audio tracks. But in specific scenarios, a lot of mastering engineers use linear phase do give that
relationship between the phase. Linear phase EQ actually
can be used as a normal EQ, otherwise it may interrupt the entire phase
relationship and you might hear a very bad mix and that will ruin the
entire experience of mixing. So linear phase Q are good
only in the mastering. And that too, we have to be
very careful to actually use linear phase Q because it deals with
the phase relationships. When to use a dynamic Q, dynamic Q, adapt
to input signals. As we have discussed before, it is good for DSing, actually, and it
controls resonances. So it can be used where a track is much dynamic and you want to
control those frequencies. Then you can easily
go with dynamic EQs. Most of these parametric
graphic EQs and shelving EQs doesn't have this kind of feature,
to be honest. And dynamic EQ is very powerful and
sensitive to work with. Excessive taking of dynamic EQ may lead to a very bad mix. Just keep that in mind and
have firm with dynamic EQ. Another Q is the intelligent Q. Smart Q. Automatic Q, whatever you call these EQs, actually is a game changer
for many because it analyzes the entire signal
and improves a mixed clarity. Basically, it can be used as another instance of an
EQ in the mixer track. Then you can adjust the mix in the intelligent Q
in order to get the desired output
that you want. Last but not least,
the coloring Q. The coloring Q's are
great for coloring, or saturating, or giving the audio track a
pleasurable feeling. It's actually very great
in those situations. A normal EQ, or a parametric EQ, or all the other types of EQs doesn't actually
have this feature. Most of the shelving
Qs and analog Q have this character of giving
warmth to the audio track, which is so pleasurable
to our ears. Basically, it is
used in mastering, and it is also used by music producers to
give that vintage, warm feel to some instruments
and synthesizers. It can be used on any track, but in moderate usage, excessive use of coloring
Q will definitely destroy, obviously, the entire track.
14. Trust Your Ears: At the end of the day with
these various ecotypes that we came across in this class have different strengths
and weaknesses to it. And the ultimate goal
is to trust your ears. So the best eco choice is one that sounds good and
suits the task at hand. For example, a coloring EQ in a low fi song its way different with
excessive usage to it, but when that same
excessive usage is used in a rap
song or RMB song, it can ruin the entire emotion
and the feel for the song. Similarly, linear
phase Q is only used in mastering processes and can't be used in
the mixing stage. Always stress your
ears and choose the best Q that sounds
good and suits your track.
15. Conclusion: Congratulations on
completing your course in Q. You have taken a
significant step towards mastering the art
of equalization, which is a crucial skill in the world of audio
production and music. Remember that the knowledge and techniques you gained will undoubtedly contribute to growth as a sound engineer
or music producer. I wish you the best
of luck as you apply your newfound skills
to your project. Keep experimenting,
keep learning, and keep refining your craft. Also trust your ears and take valuable decisions according to the word genre you're
making adjustments on. Also check out my
other courses as well, which is only exclusively
available on skill share. You can search for music, magic entertainment, and
you'll find mature courses. So yeah, let's hurry for music magic entertainment
San En Off, I'll meet you in the
next course piece.
Music Magic Entertainment, FL Studio, Music Production, Engineering
