Basics of Equalization
queueing equalization techniques. Okay, so if I play when I play this, I have no e que one. Right now, all the accuser off and the kick in the base are hitting each other basically. So when I hit play, it's going to play that and you're gonna see it's clipping over here. Now I'm gonna hit Oh, on my computer, which turns on my eq use. No volumes have changed particularly, but you will notice. So on off, I do get a little more volume out of my base. But really, it's not that perceivable, But I saved, like, two DBs a volume just by slightly taking out where the kick is right and slightly taking out these other frequencies that were overlapping. Now they work well together. This is the point of the Q. You queueing isn't making the other parts fit together and making sure they don't overlap. We do this with live in Q. If you're nude alive, you can turn on your different filters here. Then you can move, then go around, change different filter shapes. You can also use these knobs and so on. J...
ust play around with it super intuitive. You will pick it up. That's you know, that's the basics of the e que. But we're gonna get deeper, deeper into it, hopefully to the point of exploding brains everywhere. Like what movie was that attack from Mars like that suffer without the country, music frequencies can overlap, causing spikes like I showed you. Now I'm going to give you a what I call the frequency worksheet comes with the course if you grab it. And what I use it for is I draw the different parts and health we know when they're overlapping. So this is an instance where I have my vocals are taking up this range my basis taking up that range, my kick and so on. Well, I can obviously see Well, this kick is overlapping here. I've got tons overlapping there. Probably That's the That's the trouble zone. I got a little overlapping there and then I go in with my eq You. So I do this by hand by listening, putting in and I'll show you how to do that with Spectrum Analyzer. And then I go in and I can just eat you out those little trouble spots. If you look look at how that's not even much on this one. That's probably not that important on the vocals either. But all of the sudden, all these frequencies are much more separate, right? By just taking a little off of everything. I can get a much, much more volume and much cleaner mix real quick to show you how to do that. They're well within live nine. It actually shows you the frequencies here so you can see where they're peaking. Or you can come into your audio, fix a spectrum and shows you the frequencies rights. You just look at that. You look at where the peaks are, draw that out on the worksheet. It's gonna really help. You know exactly what's happening to your mix again that comes with the course. And then I just made this whole image, which also comes for you guys to help you know where the different characters and qualities of the equal right or the frequencies are right here we have the low end under 100. We have a lot of what people called boom and thud and impact all those air happening around 100 in this area. That's where people get warmth, warm quality It's kind of that lower mid range clarity is in between. Clarity is also where the vocal ranges in general, I think someone asked, aware of the different frequencies. So this is this is a big part of it. So that is where you find vocals, then the top part is where you get overtones, like a lot of harmonic overtones. So your note might actually hit on lower this part. But then you have this overlapping extra harmonics over that way. You also get the click sound like a click sound from a kick or, uh, the top kind of attack sound of a guitar attack. And finally way up there. You get hiss and sharpness. So when someone says, that sounds really sharp talking about way up there on this bottom part, we've got high fidelity. Substance speakers can actually get all the way down here. Most like a computer won't it doesn't play anything under 100 but High Fidelity does car subs or right around here. That's why hip hop is so high at like 80 hurts because it's really pumping that that kick right around there and then lo fi speakers like my laptop or crappy earbuds all around here. And then actually, high Fidelity speakers air up there as well. Granted, lots of things play those highest frequencies, but they sound a lot better on the high fidelity system. So you just keep that in mind that the super intricate sounds a lot of people on bad earbuds are never going to hear so that we know those are our frequencies. We just need to e que things to bring up or down those qualities and how do we go about it?
Mediocre mixing ruins songs. Don’t let good songs go to waste – get a complete mixing education with Isaac Cotec in Mixing Electronic Music In Ableton Live.
Isaac, better known as Subaqueous, is an Ableton Certified Trainer who’s been making electronic music in Ableton since 2002. In this class, he’ll discuss the why behind the how of mixing and help you make better decisions during every step of your mixing process.
You’ll learn about:
- Setting up your studio: monitors, acoustic treatment, etc
- Routing and gain structure
- Dynamic range and compression
- Advanced EQing and spatial placement
- Adding color and dimension: reverb, delay, and effects
- Basics of mastering in Live
Isaac will show you how to zoom out and take conceptual control over the mix and then zero in on the steps it’ll take to get there.
Mixing Electronic Music In Ableton Live will get you up-to-speed on the why and the how of mixing so you never degrade another song again.
Includes Isaac's complete mixing example set in Ableton with all examples of compression, eq, track setup and panning along with the frequency worksheet of instrument placement, a pdf on sharing tracks with others and a pdf on mixing in Ableton Live. Over 1GB in total!