Join Brian Lee White for an in-depth discussion in this video Creating complementary EQ curves, part of Get in the Mix with Logic Pro.
…We now know that it's best to make EQ decisions in context, based on how we want…to push and pull the listener's focus and…complement all the instruments and song as a whole.…We also know that frequencey and pitch are directly related.…And therefore, elements playing in the same octave…are in danger of competing with each other.…It may need special consideration in regards to EQ to sound…good in context.…Simply boosting an instrument's fundamental frequency tends…to make instruments blur together in the mix.…
Remember, it's an instrument's harmonic series that…give it its unique tone, and quite…often, the frequencies near the fundamental tend…to sound very similar from instrument to instrument.…That being said, when dealing with instruments that live in the same…frequency range, we must attempt to create…complementary curves that allow each instrument to speak…in the desired way without blurring over…each other or overpowering that specific frequency range.…Now where this is most critical is around the…low end of a mix, specifically the bass instruments.…
This course covers 23 techniques for improving your mixes with compressors, processors, EQ and filters, delay, and modulation. The first chapter covers compression and dynamics processing, including how to even out vocal performances and add punch to drum tracks. The second chapter goes into EQ and filtering techniques, such as creating complimentary EQ curves and EQ-ing FX returns. Last, the authors explore delay and modulation techniques, including using long delay on key lyrics and creating flanger and phaser effects.
Download the free exercise files and open them in Logic to start training, or simply watch the videos here at lynda.com.
- Using compression to even out vocals and add punch to drums
- Maximizing mix loudness
- De-essing a vocal track
- Using EQ to fix problems and place elements
- Automating EQ
- Using long delay
- Creating slapback echo
- Creating a flange effect