EQ Help

[SimonT]

Back to EQ again.

Right so for now (I make electronic tracks also) but for now let’s stick to guitar and vocals. I want to learn how to EQ but no-one seems to be able to tell me the basic principal really. I have 20/20 headphones and no professional monitors, so I’ll be using them to listen for now. I know it's not necessarily advised but it's all I have at the moment. I’m using a dynamic mic too, not a great one, so forgetting room acoustics and the quality of the mic for now. My guitar isn't the greatest either but I have flukily had it sounding very nice on occasion with the mic placement, reverb and the way I've strummed it.

Anyway, let’s start with vocals. Say I have a 16 bar section, 2 tracks of guitar and a vocal. It would be a great help if someone could explain things in Reason (I have 8) so using the Spectrum EQ or the MClass EQ would be great. I know the principals are the same but it would help me understand better if someone could explain it on the MClass or Spectrum EQ, exactly which section or part to cut or boost or whatever. If you can't explain using Reasons EQ's, that's fine.

So the vocal, what is the first thing I need to do? I apply either the MClass EQ to the vocal track or open the Spectrum EQ and then what? Is there a certain frequency range that an experienced producer/engineer will know about that they immediately would go to for vocals? How do I know what I need to do, cut or boost? What defines whether I need to cut and what defines whether I need to boost? I have heard that you always want to aim to cut, rather than boost, is this right? I heard it's like a stew, if something is added that made the stew not taste nice, you don't go enhancing another flavour say by adding more of that, you take the flavour that makes it taste bad - out! agreed?
Once I’ve determined that, then what do I do with the Q, and what am I listening for when I sweep the frequencies? I know people say, "The sweet spot", but what is that, what am I listening for? If anyone can just tell me this procedure, I would know the basic principal and can then (hopefully) start training my ears to some degree.

Then what's the deal with filters. HPF and LPF, how do they now work in relation to the EQ?

As for the guitar, same thing as above again. Where do I cut or boost, why, and what am I listening for when I sweep the frequencies again, what is the guitar sweet spot I'm listening for?

Also, with it being a guitar and vocal, will anything be different in the EQ'ing process when listening to the 2 tracks together, in relation to each other, as opposed to what you would do if you were to EQ them individually or separately? does that make a difference or not? I know we aren't gonna be EQ'ing them together (or are we?). We would solo the tracks to EQ right? but what I mean is, does how they're EQ'd differ when you listen to the 2 tracks played together than it would say if you'd only had 1 track done so far. If so, I s'pose you'd EQ all the tracks in a song last then, once all the tracks are finished, and not as you go along, as you would need to know how they sound EQ'd in relation to each other wouldn't you?

One last question, you would EQ first out of all the mastering effects wouldn't you?

Is this the order EQ, Compress, Maximize, Stereo Image? would you add reverb last?

Thanks for your help!
Much appreciated..

I have this Frequency Spectrum Instrument Range sheet too if that helps:-

5 EQ Audio for Video Tips for Filmmakers | VashiVisuals Blog

Thanks!

 

[Ametrine]

So I can't say much about the specifics of EQing in Reason because I use FL. But there are a few things I can say about EQing in general.

So the vocal, what is the first thing I need to do? I apply either the MClass EQ to the vocal track or open the Spectrum EQ and then what? Is there a certain frequency range that an experienced producer/engineer will know about that they immediately would go to for vocals? How do I know what I need to do, cut or boost? What defines whether I need to cut and what defines whether I need to boost? I have heard that you always want to aim to cut, rather than boost, is this right? I heard it's like a stew, if something is added that made the stew not taste nice, you don't go enhancing another flavour say by adding more of that, you take the flavour that makes it taste bad - out! agreed?

It's hard to give specific advice without a sample of what you're trying to EQ. But more often than not, yes, it's best to take out when EQ'ing rather than boosting.

I can't really comment on whether there are technical consequences to boosting instead of cutting, but the food analogy you described pretty much sums it up. Personally, I find I make better tactical decisions about how to EQ a sound when I cut rather than just boosting what sounds good.

Then what's the deal with filters. HPF and LPF, how do they now work in relation to the EQ?

High pass filters are filters that allow high frequencies to pass through, while low frequencies are attenuated. Low pass filters are the opposite.

You'll sometimes hear the criticism "that mix is muddy", or "your synths need to breathe", or something of the like. That's often because there's a lot of frequency clashing.

One of the easiest ways to clean up the low end, for example, is to start using high pass filters. I use them on every single sound I use. (Even bass). Let's take a hi hat for example. A hi hat hits in very high frequency ranges. There's nothing in the low end of a hi hat that adds to how good it sounds. My advice to you is put in a high pass filter and bring it higher until you hear the sound quality of the hi hat start to change. That's your sweet spot. The same goes for every other synth you use.

Same goes for low pass filters, just the other way. You may not hear those little artifacts that you're filtering, but when you combine a lot of instruments and synths that have them, that's when your mix gets dirty. A clean mix makes good use of the frequency spectrum and gets rid of things that do nothing but take up space.

Also, with it being a guitar and vocal, will anything be different in the EQ'ing process when listening to the 2 tracks together, in relation to each other, as opposed to what you would do if you were to EQ them individually or separately? does that make a difference or not? I know we aren't gonna be EQ'ing them together (or are we?). We would solo the tracks to EQ right? but what I mean is, does how they're EQ'd differ when you listen to the 2 tracks played together than it would say if you'd only had 1 track done so far. If so, I s'pose you'd EQ all the tracks in a song last then, once all the tracks are finished, and not as you go along, as you would need to know how they sound EQ'd in relation to each other wouldn't you?

When you are working on getting frequency balance in a track down, the best end result will come from EQing your tracks so that they work well together. The best way to do this is to play them back together and adjust from there.

This is because frequencies tend to build up on top of each other and can quickly go haywire. That guitar may sound fantastic when it's solo'd, likewise the vocals, but when you combine them, the vocals and the guitar may not sound as great.

One last question, you would EQ first out of all the mastering effects wouldn't you?

Is this the order EQ, Compress, Maximize, Stereo Image? would you add reverb last?

In general, yes, you should EQ before doing anything else. Often times, it's just a matter of preference how you'd like to order your effects. I believe adding effects to a cleaner, EQ'd sound just makes more sense. (And if you do use one, I assume it makes a compressor's job a bit easier).

When you say "mastering effects", are you just talking about doing that stuff on the master channel or on individual tracks?



There's hundreds of tutorials about EQ (and a lot of good stuff on this forum as well), so I'd say just browse around some more. Also, you should try playing your tracks off of different sound systems when you can. Something may sound good in your headphones, but maybe not so much coming out of car speakears. Therein lies the essence of mastering, but that trick also adjusts your ear and trains you on frequencies to look out for

 

[bandcoach]

When you say "mastering effects", are you just talking about doing that stuff on the master channel or on individual tracks?

so quick word about reason and master fx - these are named as master class fx but are not limited to being used only on the master buss - you can insert them anywhere in the signal chain - they offer more fidelity and more parameters than the other level of fx available in reasons racks but may be surpassed by some of the rack extensions

my only other statement right now is some audio will go along way to advising you what to do for this particular mix, preferably wav but mp3 will do if it is all you can upload (320kbps cbr if it must be mp3)

 

[Spaceman_Ant]

I dont think you will talk to anyone that can break down mixing...
When i first came to the site it was explained to me as something u have to experiment with...
You wont know what boosting will do unless u experiment boostin on different tracks...
- similiar sounding tracks will show u the difference...
- u can then take notes on when, and why
You wont kno what compression is unless u experiment... yada ya...

Theres charts all over the interwebs that give u estimated cuts...
-experiment

Just like making beats... its not as cut n dry as it may be percieved