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In this course, author Bobby Owsinski reveals industry tips, tricks, and techniques for producing professionally mixed audio on any digital audio workstation. He offers recommendations for setting up an optimal listening environment, highlights the most efficient ways to set up and balance a mix, and shows how to build a powerful sound with compression. The course also explains how to master the intricacies of EQ; incorporate reverb, delay, and modulation effects; and generate the final mix.
Percussion can be categorized into two groups: the low-frequency drum instruments like bongos, congas, djembes and udus, and the high-frequency instruments like shakers, tambourines and triangles. In this video, I am going to show you how to equalize the high-frequency hand percussion instruments. So the first thing we are going to do is have a listen to the track with the tambourine in it. And the tambourine is actually adding some motion. The beauty of this is we won't necessarily hear it but we can feel it in the track. (Music playing) Feels really good. Now watch if we mute it.
(Music playing) It's very subtle thing. It just adds some motion, which is what percussion usually does, and that's why record producers from the time they are record producers, always wanted to have percussion on the track. Let's listen soloed. (Music playing) Okay, let's add a little EQ. It really doesn't need too much and that's the whole thing with percussion instruments.
If they are recorded even reasonably well, they usually don't need a whole lot of EQ to make them work. But there are a couple of tricks. Now first thing is we are going to go back to our high-pass filter. Now watch what happens here. There's really not a lot of low-frequency information on high-frequency hand percussion. As a matter of fact, there is zero low-frequencies. If we actually roll off everything from about 1K, believe it or not, we won't notice the difference. Have a listen. (Music playing) There's not a lot of low- frequency information there at all.
Now the beauty of this is what we might have picked up in recording,= would have been once again things like truck traffic, helicopters flying over or footsteps or things like that, basically consisting of low-frequency information that does nothing to help our mix. So we want to use the high-pass filter in order to get rid of it. So that's the first thing we will do. The next thing is it's fairly simple with hand percussion. nywhere between 05 and 10K or so add a little bit of a boost and all of a sudden that particular percussion instrument will jump out of the track.
So let's add a little bit of 5K or so and let's listen to what it does to the tambourine in the track. (Music playing) There is a little bit more definition to it and let's listen what happens when we play the tambourine with the rest of the instruments. (Music playing) So that's what happens when we add a little bit of 5 or 10K, depending on how it was recorded and what the instrument is. all of a sudden we go from not really hearing the instrument, the tambourine, because it's blending in with the track to all of a sudden sticking out of the track.
And that's what we want sometimes. We want to be able to hear the instrument and that's the way we do it.
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