📈If anyone would like to recreate my curve: 63 Hz & below = 0 dB 80 Hz = -1.4 dB 100 Hz = -2.9 dB 125 Hz = -4.2 dB 160 Hz = -6 dB 200 Hz = -3 dB 250 Hz = -4.5 dB 315 Hz = -3 dB 400 Hz = -3.9 dB 500 Hz = -4.8 dB 630 Hz = -6 dB 800 Hz = -4.5 dB 1k Hz = -3.3 dB 1.25k Hz = -4dB 1.6k Hz = -4.3 dB 2k Hz = -6 dB 2.5k Hz = -4.5 dB 3.15k Hz = -3.6 dB 4k Hz = -1.9 dB 5k Hz & above = 0 dB
Exactly the video is so pointless, if one, being a live mix engineer or studio mix engineer don't understand the facts that upper midrange causes harshness and bass & lower midrange causes mud, than he/she should go back to Lesson 1. And of course there is no "magic" curve, every space is different, every mix is different, every SONG is different, different keys, different timbres... I mean, come on...
Keep in mind he stated this eq curve is specifically for mixing live sound REALLY loud. As the volume gets higher, your ears become more sensitive to the high-mids, as plotted in the Fletcher Munson/equal loudness curve. His eq curve mitigates this effect.
@@StevenMelin I tried your eq settings and compared it to just adding a 9db low shelf at 50hz and a 9db high shelf around 5000 (and then matched the output levels). It sounds quite close.
When you MASTER you are making songs LOUDER and when u turn up the volume on ur music this EQ curve works perfect because LOUD mastered music and LOUD live music are both LOUD. So it works on mastering too. Ive been mastering for several years and I did it thru trial and error. Nothing on youtube would work and this eq curve is sonething close to what ive been doing and works well due to getting song loud and then eq n compressing it into the limiter.
@@AP530 again, keep in mind this is in a live environment. This eq is only on the P.A. His mix is not getting treated this way. So the stream and the recording doesn’t have this eq setting. To compare your mastering to a live mixing environment is outside my mind. Your audience will never ever be standing in front a 30 stack PA system (that they’re in control of) blasting your masters, to justify making such eq changes to someone’s mix (even if they were PA owners, it would be better to put the setting on their PA so headphone and boombox consumers aren’t affected). This is just to protect the audience from super high listening volumes. And if your master was to be played on a system like his, with your eq and his eq, what would your song sound like? His example was only for monitor.
Thx for this vid. I missed the interview even though I am a Beato fan. I have to say this technique works really, really well. The Kick and Bass become so clear and present and all the mud, which I didn't know was there, disappeared. The A/B of this technique is a little disconcerting when you first try it but after about 2 minutes of listening and then A/Bing again, you will instantly come to hear how clear this technique makes everything. Excellent video. Thx.
I mix FOH at the church with Steven and he sent me this. I tried it last Sunday and it was insane how much better the mix was! Can’t thank you enough brother! 🙏🏼
@@markiethetiger2461 was is great just at first or are you still using it, really interested to see what people are learning over time about this curve? all the best
Cutting is always better than boosting, especially live. I’m pretty sure this applies to the final mix after mixing in the Guitar, vocals, and cymbals.
I checked out the original video and found what I think, is an even more accurate frequency spectrum by analyzing the brief image of his physical mixer. I spent a lot of time re-crafting the details of this, and am pretty sure it's about 95% accurate: 80 Hz & below = 0 dB 100 Hz = -2.0 dB 125 Hz = -4.0 dB 160 Hz = -6.0 dB 200 Hz = -4.0 dB 250 Hz = -3.0 dB 315 Hz = -2.5 dB 400 Hz = -2.5 dB 500 Hz = -2.0 dB 630 Hz = -2.5 dB 800 Hz = -3.0 dB 1k Hz = -3.0 dB 1.25k Hz = -3.0 dB 1.6k Hz = -3.0 dB 2k Hz = -2.5 dB 2.5k Hz = -3.5 dB 3.15k Hz = -2.0 dB 4k Hz = -1.0 dB 5k Hz & above = 0 dB
This is why Pultec was so popular, it bases on this EQ curve “Smiley Face” or “V/U” shape. To balance a mix in Body because human hearing does need a help to perceive low frequencies, and on highs where the “vowel” area is and a gentle lift in the area is soothing for our ears, as long as we don’t push it a lot. At the end the goal is not to boost or cut individual frequencies but seeing it as a whole, if we see all the spectrum: A lift on bass frequencies human ears appreciate a lik help with, and a soothing mid/high range (vowel/formant area) both of them higher compared to the “muddy” area (150-300Hz)
Yes, but you don't need a Pultec to make a smiley face. You can make approximately the same smiley shape with any 3- or 4-band EQ. Any old mixing desk would let you cut the midrange while boosting the bass and treble/air. It's just handy to be able to sweep the mid-band to a particular frequency (e.g. 160Hz) where you want the greatest attenuation. (The Pultec naturally made quite a sharp cut in an ideal place if you did attenuation at the same time as boosting the bass). I think those 30+ band EQs are only really useful in a live context where there might be some weird resonances. Thousands of smash-hit records were made on SSL desks with only a few EQ knobs set to produce simple "smiley face" effects.
Ah, this is brilliant! I've recreated your GEQ settings and it sounds brilliant! I also discovered how awesome GEQ is! If you set the range to 0 and then dial it up, you just stop when it sounds good! It keeps all proportions! Thank you and Dave and Rick!
Started watching this on a random impulse RUclips click while I was eating, and I was already more than halfway through the video when I finally looked down and recognized your name... I'm already using a ton of your music in an RPG Maker game that I'm developing, but I'd never come across your channel before until now, lol.
Also, when you scoop out like that leaving low end, you lose headroom, not gain it. I agree with the clown below, that there is a lot of , I won"t call it bad, but certainly misinformed, and more so, misapplied.
This is something you do subconsciously in Electronic Dance Music especially if you are mixing for headphone music or trying to get loud with out paining for big EDC or Ultra shows. Only problem is processing power and time someone has to make a perfect loud yet destroyed mixes Love the info
Awesome! EQ truly is the foundation of mixing. I’ve been working on it a lot recently. So crucial. You’re right, night and day improvement. I believe hi-hat is a higher fundamental than 2k. Also I think you meant above like 15k is the range people can’t usually hear. Loved the cue too!!
Thanks for your remarkable insights. I too saw the Natale - Beato video, but wrongly assumed it was a technique limited to live music / big venue / loud volume situations. You took the time and applied the intellectual curiosity to test it in a recorded music / studio venue / reasonable volume situation. You are quite right that this technique has a dramatic, positive, impact on mixing songs. I very much appreciate your work on this.
@@ProDoucher At any professional level in sound, it should be assumed that the PA has been rung out pre-sound check. My above comment takes that for granted.
This is interesting. My immediate thought was, "But I don't want to have a the same curve applied if my conscious decisions about these areas may also be changing," so I set up a preset in Soothe 2 to add extra processing to resonances in these points and adjusted the Q of each node to cover a similar area to the curve. This makes a positive difference to every premaster I've put through it so far (more subtle than the EQ, of course, but maybe better in the long run?). [edit] 5k and above is NOT beyond human hearing, wdym? As for doing the EQ curve instead, I made one working to -6dB with the mix at 100% so that it can be blended. I think the thing to do is start with the EQ's mix at 100, A/B the Bypass and listen for which parts it's negatively affecting, and then keep A/Bing as you bring the EQ's mix down until it's barely affecting those parts. You'll probably still be at about 50-75 of that curve, so you can definitely still hear it cutting into those problem areas quite a bit.
Cool experiment! I’m still playing around with this myself, so the point of this vid was to share the curve and see if anyone else is experiencing the same awesome results 😅
This is interesting. Often these frequencies are cut off in one way or another when mixing, so it is worth trying to mix this curve in the right proportion. Thanks for sharing this.
Dave Natale is a legendary LIVE sound mixer. I think you’re missing the fundamental point of his video. He’s speaking very specifically about clarity in drums by cutting 160Hz and adjusting the 2-3kHz range for pain threshold when delivering program as loud as possible. Which is his signature sound. To apply this universally outside of a FOH live sound application and for all genres of music and volume levels is doing yourself a disservice. Especially in a studio mixing environment where a full spectrum of information needs to be represented. I think Dave was quite clear about not doing this outside of his very specific gear, genre and volume scenario.
Mr.legendary Dave mixing in the 80’s when they didn’t have the tools and technology we have today to analyze the venue ,deploy and process our speakers properly for “ clarity and coverage “ , not to get it as loud as humanly possible,we dont have a problem these days making things loud! And just because u cut out the so called harsh frequencies and and the low end doesn’t bother you certainly does not mean that it’s not destroying your hearing after a reasonable dba level! Like Dave said in the video “don’t do it” especially in your fucking treated recording studio! Every venue and room is different acoustically! It is guys like this dip shit and legendary dave who spread miss information and everybody follows suite so make sure to make things loud till your ears bleed and have no less than 10 plugins per channel! Your doing great! 😂
I used this idea on my home theater setup. It cleans up the mud and takes away some of the painful frequencies. I know a home theater is nothing like a JBL Vertec system or an EAW Anya/Otto system but the concept works well.
I saw the original video from Rick beato and I was intrigued but I never got around to testing it. Thanks for the video because it did remind me to get around to actually testing this. Also thanks for the EQ settings in the comments. This is going to be fun!
I was curious, so I experimented with your values on a graphic equalizer using several of my non-mastered tracks, and I found that I could only hear an improvement at an uncomfortable high volume. While the sound does became clearer, it’s also possible to adjust the low-mid frequencies in other ways to achieve a similar effect. The surgical approach suggested works best for mixing live shows, especially if you have a physical graphic equalizer on hand. A parametric EQ is what I'd use to achieve the same result quicker with 4/6 frequencies to adjust, during the mastering and final mixing stages. Also multiband compression is fairly common too in order to leave the muddy part of the mix out of the loudness war. Nonetheless, this curve provides a solid template to help you understand which frequencies to focus on, so thanks for sharing!
I've spent the last several years trying to get my music sound as polished as the professionals, and most of the learning curve I have found is EQing. I stopped using ozone a couple of years ago and found I get better results training my ears to EQ properly. I just downloaded soothe 2 and that combined with what I've learnt with EQing has made me achieve my goal. I always cut around 2k and from 200 500 hz, remove sub from anything that's not sub and anything else depends on the sound I'm using or track I'm mixing. Interesting video, corolates with what I've learnt.
I’ve found 2 to 3dB to be the perfect amount (half of what I show in the video). It’s just a little extra clarity in the mix. Granted, all my music is instrumental / orchestral, so that probably helps to showcase the shininess of the high end.
Just tried this and wow! I used the Kirchhoff eq and tested this. 4 db seemed to work for the track I was working on but seeing how this can make that drastic of a change in clarity is astounding. Thanks for sharing!
Right there with you! Yeah, it doesn’t always need to be so extreme. For Dave Natale, he mentioned that he usually goes -15dB at the lowest for massive stadiums, which makes sense with all the low end build up with subs and thousands of bodies in a room / hundreds of feet from stage to ears. But in the studio, I’ve found 3 to 6 dB to be the sweet spot so far 🔥
i was thinking of doing this too! good vid. I was playing live once and had a horrible experience with overly loud monitors on stage and I reckon it was the 2.5k that nearly did me in. Was really stressful.
This curve seems to keep the mix in a sonic place and then even after mix and effects etc ,,, seems to kind of automatically keep things within a happy range to the ear... on its face it also seems to help with masking issues in those ranges... been using it for a while on just about all my mixes.... and it doesn't matter if you mix in mono or stereo from my experience using a curve like this... I have dynamics built into mine but I can adjust to the uniqueness of the mix as I go.. Great to hear your vid....
@@StevenMelin hoping this works. I remember back in the day when starting in 2000 I use to boost the EQ, and used it as volume. I kind of stopped that, so this takes me back. Seems what you start with you should continue using.
Keep in mind that this EQ curve is for removing unwanted pain frequencies, not boosting anything. But because this will remove volume, you can boost it back with the output equal to the amount you removed (-6dB removal = 6dB output gain more or less).
@@StevenMelin yeah I find that helpful so I hope to try it. When I mix my personal music I have a certain way I do it. It might cripple and squeeze out the life of my mixes but trying is really all I can do.
This is well known in studio mixing also. They call it a scooped mix. And yes it can definitely make things sound more pristine and clear. But unfortunately you’re also removing the most important part of a mix which is the midrange. My recommendation is to definitely study this and learn how it works, but in the end, you wanna know how to dial in that mid range. Learn how to mix the mid range correctly and you’ll have much better mixes.
Midrange maybe the heart and soul of music, and the easiest to hear, but this is also the reason it can be so ear grating, so this totally makes sense, with the gain staging
If I can add to this, IMO this curve is honestly a super nice touch to a mastering chain. BUT, it doesn’t negate a proper mixdown. There’s always moving parts and if two instruments are clashing somewhere, fixing in the master chain with this is like putting a band-aid on a bullet wound: it may hide the problem but it didn’t fix it. Other thing I feel worth mentioning is that when I set these up in my Pro-Q, I really dialed in the Q and dB/oct, and you HAVE to use the gain scale to dial it in.
I'm a big fan of "scooped" masters or what used to be called the "disco smile" that emphasised kick, bass, and hi-hats (at the expense of vocals and mid-range instruments) as it made things sound groovier in the clubs and on the radio. I'm unlikely to make a severe cut at 160Hz though. Many of my favourite records from the '80s have 'ear-splitting' snares at around that frequency. It might be painful to hear them in a live setting without a good engineer utilizing his 30-band EQ to reduce their prominence at loud volume, but a lot of great records (by Madonna, Prince, Michael Jackson etc) would sound weird/terrible with their snares turned down by 6dB.
Many people here are forgetting that after applying this eq you still need to EQ each individual channel to for each instrument or vocal, then you get the results he is talking about. The reason it works for steven in a Studio aetting is because his tracks are already mixed how he want them, he just added this EQ and turned it up.
My buddy Billy Decker always just tells me, "Find the pain, reduce the gain". It sounds so simple...because it is, but it works. Get rid of the annoying stuff, and let everything else shine through.
You're essentially adding volume so you think it sounds better. You're adding 6db across the board but only dipping out certain frequencies by 6 dB or less so there will be a net gain. This is why you can put it on almost any mix and you think it sounds better. If you normalized for volume it would paint a different picture. (try it, you will come to find the benefit or lack of benefit would relate more to the overall frequency balance of the mix) Also, there is no such thing as good and bad frequencies. You're hornswoggling yourself with volume, This is a very classic mixing pitfall. One good rule of thumb is if it works on everything, you can bet you're adding volume. Sorry to have to call you out on this but you're pushing bad information that most people on here will not have the experience to know better. This is why so many people are universally responding to how crazy it is that this works on every mix. Everyones just adding volume to their mix hehe. Great channel overall though !
Indeed. That 6dB boost after only cutting some frequencies and mostly by less than 6dB just means the whole thing will sound louder, which usually sounds better. (it could also cause clipping). As I understand it, you only need 30 bands of EQ for mixing live music at very loud volumes on very large speakers. This is because our brains/ears react to sounds differently at different volumes. When music is played very loud, the mid-range sounds much harsher/fatiguing than it does at normal volume, so the live mix engineer needs to cut the mids more than a studio/mastering engineer does for recordings. Similarly, if you're at a festival, you want the speakers to pump out tons of bass. You don't want that on your home speakers or on the radio. In normal mixing, you want the midrange to be relatively loud, to make vocals and mid-range melodic instruments intelligible.
ok, I tested this out! Its pretty darn interesting. I'm going to test this out for a while longer, until I know its a good way to mix or a waste of time. Either way its fun to try out new things.
I've approximated the curve in the Ableton EQ using 8 bands, then put on every individual track and using the Scale % to adjust to taste so I can remove harshness without gutting the mix entirely. Works great! Thanks.
If you really want to try using a graphic EQ, there is a free one by Voxengo (makers of SPAN) called Marvel GEQ that has 16 bands, which is more than enough for mixing normal music. The 30-band models only really make sense for live settings where the speakers are playing VERY LOUD, which causes some frequencies to sound louder than they do when played at normal volume.
wow, must have missed that video. But I've been applying a notch at 4k a lot lately, it really helped my listening experience. It's interesting this curve cuts so much at 2k though and the sound still has intelligibility.
A variation of this has been my go to curve for front of house for a while now. Got there mostly through trial and error. It's easy to find the mud and pain frequency's but it's easy to miss what should be there to maintain the energy of the music. I try to keep as much as the low mids in there as possible otherwise things can sound a bit dead. That's of course assuming you've got a tight fresh sounding system to work with.
On the 1:17 sample it sounded way better with the EQ applied, but on the sample starting at 1:30 the EQ buried the "power" of the segment, but it did change it a lot, so "It's night and day" is true! I guess it shows that there is no blanket statement, but only preference. But cool video nonetheless, I was entertained a lot!
Been doing this in Metal and hardcore production for awhile because of the amount of low end and chaos that needs to be controlled. But its done on the individual instruments not the whole mix buss
For all those people wondering about the Q settings: "For its 30 main bands, the GEQ Classic component uses “Proportional Q” filters. The Q value is proportional to the gain adjustment; increasing a band’s gain narrows the filter width." So it's hard to recreate those settings without a similar working plugin
@@kenbeaupre9973 you won't believe it, this year i once did live sound with an analog system, and i used a graphic like the one with the faders for every frequency to tune the speakers 🤣🤣🤣
Your music has gotten so good! EQ is by far the most powerful mastering tool you have. 😎 (my credentials: Apple Digital Masters certified). You will find a HIGH LEVEL ABOVE THAT if you will focus on getting rid of RESONANCES your music.
This is interesting because Ozone kept pulling 150-160hz out of my mixes, not much like -4db. Then you can solo that band and go directly to the instrument and pull it out for less possible phase issues. It was doing this to make the maximizer more optimal and to allow it to be spanked more. I would still keep Ozone, they were already doing this with there mastering assistant AI tech. There has to be a bit more science to this, involving the fletcher munson curve maybe. Wonder if Soothe can be set up to mimic most of these bands.
Wow for 44 years I thought I was the only one that did this😂 actually mine was slightly different I started a slight scoop a 2.5 to 6 k then slight slope up starting a 10k to 20k to give it a delicate high end without pain. Unfortunately most systems don't have what I call really high quality ultra high end, that has a long range throw. But I will say i could mix a very high Db show and my ears would never ring at the end of the night. Almost everybody else I would go see would cause me to not get any sleep that night because my ears would be ringing so bad. So maybe that's the litmus test if your ears are ringing at the end of the night you might have caused you and the audience pain.
What are you using to monitor? Those headphones presumably? It would help to know if you've monitored on different devices or in different settings for the purpose of the demo and assertions being made. So you're dipping the mid range frequencies (and cutting some specific frequencies), which, if those headphones are more emphasised in the mid range, effectively means the bass is being increased and the above 5k sparkly or airy frequencies may now stand out. Therefore the sum of your original mix (or simply the sound of the instrument preset), and the action of your monitoring device, and possibly your room, is being adjusted to allow less typically heard frequencies (with middy headphones) to be heard a bit more and give a fuller sound. Making such big adjustments to a mix may get results in one very specific set of circumstances, but presumably wouldn't translate to others, potentially giving very unpleasant results in other circumstances. The likelyhood is that the good results from this template curve has highlighted a bias in one or many of your variables. The original source material, despite providing some radical inspiration, was specifically referring to mixing the audio coming from drums in a live music setting, to reduce discomfort when the music is being played very loud. I've applied close to that curve to the eq on the amp for my front room hi fi system, and obtained great results! Great to try things, great to acknowledge their original use-case.
Great points & questions! In my situation, I’ve enjoyed applying this curve to numerous instrumental (soundtrack genre) tracks to great effect, auditioned on monitor / headphones / car / phone. Naturally this curve won’t improve bass-heavy genres like EDM / hip-hop, but in my world focusing mostly on punchy orchestral music, this does wonders. And as many have commented, it’s best to dial it in to the context. I have it as a preset at -6dB range & 6dB boost, but that’s just a starting point.
Quite interesting, my first thought was oh "its just a smile eq", but hearing why the individual frequencies are treated that way, makes me wanna try it, will use it like you with a graphic eq that lets me set the range for the whole eq
😂 OMG it’s the holy grail magical eq setting that I got off the internet from and some old FOH sound guy,look mom your sons a genius! Your all fired!!!!!!!! I wouldn’t let this guy mix a fucking cake
So I tried a version of this last night and loved the result, I think the smart way to do this is similar to how Dave does it, his adjustment of this curve is dependant on the room/venue he's in so I think these "rules" can be applied in a mix dependant context. So I used a graphic eq last night, cut everything in between 80hz-5k to -6db, then based on his I "hate" 160hz, 630hz, 2-4k pain concepts started adding these frequencies back into the mix one slider at a time but making sure that the core freqs he mentions are relatively lower than the rest. Essentially using a similar curve to his but custom for my mix, I think the overall concept is still very useful for studio mixing if applied in this way instead of just being a preset. I mean there's no reason to cut -6 or -12db of 160hz out if it's not in your mix but looking at specific "problem" frequencies and testing reducing them judiciously makes sense
@@StevenMelin Thanks man and thanks for the inspiration to check out the concept! If I had only seen Rick's video I would have thought to myself that this technique could only apply to live sound :)
You can just listen to the mix and take away frequencies that are annoying. There’s no reason to cut it in this specific way for every song. Also 5k is nowhere near the limit of human hearing, that’s 20k
Thats just resulting in the EQ smile curve.what used to be in car stereo and defined as "Loud" button usually. Btw I checked (with matching the loudness of course and not just adding 6db). I said, why not, it's probably nonsense but I'll check. It definitely ruined my mixes, each and every one of them😂 I am a mixing and mastering engineer so I guess if you get good sound already - dont do that because it'll ruin it.
I watched the video as well but thought it was just for live mixing, definitely will try this but I think it shouldn’t be applied on the masterbus. Getting rid off these annoying frequencies on individual tracks would be a better approach imo. But that’s just a guess I have to try it out myself first lol 😊
@@morbidmanmusic Just watch the video that he's refering to. It is a technique for live mixing (so you kinda know for sure people are listening to the music very loud which makes a huge difference). The main goal of the technique is not intended for mastering. He pulls out mainly 160Hz and some around 2k-4k because these frequencies are tedious in a live situation. So he does that to "save" peoples ears - not to make it sound better. That is a completely different approach. In mastering you try to make your sound as compatible as possible by having a balanced mix. Also there is no such thing as a magical EQ curve that you can slap on and make it sound better. It's even worse than to just "Slap on Ozone" like he jokingly said in this video. Think about it - if there was such a thing you could slap it on forever and it would always sound better. Ok but maybe you interpret this whole thing like: "mix flat and then apply this curve". Would still be a dumb thing to do. Since every composition is different. Maybe the punch of your Kick sits at 160Hz ? Would be a pretty bad idea to remove it just because you blindly add that EQ curve. When you EQ you try to balance things. The curve your track needs could be exactly the opposite of what he's showing. But yeah slap that curve on because it is simpler than listening and thinking.
Dave was talking about the drum EQ. Why would you ever remove so many frequencies from your full mix? And what does it have to do with Ozone? It's a great mastering tool if you know how to set it manually.
I use something like this…but it’s just the way it turned out…I always eq to my voice at high volumes….ultimately I prefer to have the 2-2.5 kHz pressed down with a multi band compressor …as there are things which need the 2-2.5 but the voice always being the loudest…needs those frequencies pushed down..
I think if you have to reduce something by 6db on the master, something is wrong in the mix. The mastering stage is usually for subtle moves. The heavy work is done in the mix
Yeah, this will mess with levels of things in the mix really badly. It use to be "fix it in the mix" now, its one step beyond... I always liked know what you want and get it at the source... those days are slowly going away.. let AI butucher it for the next decade too.. ugh. Now I'm depressed. Lol
Hello! This technique seems very similar to mixing with a limiter at +6 and then removing it when exporting, since by having those +6 you end up mixing at a much more limited level, precisely in the mid-range since, as you say, The human ear is much more sensitive in this range, only in a different way, we would be reaching the same thing basically. I have also seen a video where, with a multiband compressor, the engineer in question compresses the midrange and expands the low and high range, obviously with parameters that work for him. I'll see how it works for me with this technique, greetings!
📈If anyone would like to recreate my curve:
63 Hz & below = 0 dB
80 Hz = -1.4 dB
100 Hz = -2.9 dB
125 Hz = -4.2 dB
160 Hz = -6 dB
200 Hz = -3 dB
250 Hz = -4.5 dB
315 Hz = -3 dB
400 Hz = -3.9 dB
500 Hz = -4.8 dB
630 Hz = -6 dB
800 Hz = -4.5 dB
1k Hz = -3.3 dB
1.25k Hz = -4dB
1.6k Hz = -4.3 dB
2k Hz = -6 dB
2.5k Hz = -4.5 dB
3.15k Hz = -3.6 dB
4k Hz = -1.9 dB
5k Hz & above = 0 dB
I just tried this and it worked way too well, I' questioning everything i have learnt about mixing
@mrgriffton9935 🤣🤣🤣 you and me both
Dude I tried it as well and am kind of freaking out. After adjusting for taste it absolutely works. Crazy crazy.
@@GreasyDaddy🔥🔥🔥 crazy how well it works in almost all contexts
Thanks the gems!
(You forget the "-". logically its 500 Hz = -4.8 dB not 4.8 db, right?)
There is no silver bullet in EQing. It is an art form AND a science, and needs to be adjusted to every source, speaker system, room and audience.
always a pleasure to read someone who undertsand things in their complexity
Right, but there are universal truths.
Exactly the video is so pointless, if one, being a live mix engineer or studio mix engineer don't understand the facts that upper midrange causes harshness and bass & lower midrange causes mud, than he/she should go back to Lesson 1. And of course there is no "magic" curve, every space is different, every mix is different, every SONG is different, different keys, different timbres... I mean, come on...
@@JoelBrandonMedia I would say basic truth, no magic here...
Keep in mind he stated this eq curve is specifically for mixing live sound REALLY loud. As the volume gets higher, your ears become more sensitive to the high-mids, as plotted in the Fletcher Munson/equal loudness curve. His eq curve mitigates this effect.
Still works wonders for studio mixing too!
@@StevenMelin I tried your eq settings and compared it to just adding a 9db low shelf at 50hz and a 9db high shelf around 5000 (and then matched the output levels). It sounds quite close.
When you MASTER you are making songs LOUDER and when u turn up the volume on ur music this EQ curve works perfect because LOUD mastered music and LOUD live music are both LOUD. So it works on mastering too. Ive been mastering for several years and I did it thru trial and error. Nothing on youtube would work and this eq curve is sonething close to what ive been doing and works well due to getting song loud and then eq n compressing it into the limiter.
@@AP530that makes sense
@@AP530 again, keep in mind this is in a live environment. This eq is only on the P.A. His mix is not getting treated this way. So the stream and the recording doesn’t have this eq setting. To compare your mastering to a live mixing environment is outside my mind. Your audience will never ever be standing in front a 30 stack PA system (that they’re in control of) blasting your masters, to justify making such eq changes to someone’s mix (even if they were PA owners, it would be better to put the setting on their PA so headphone and boombox consumers aren’t affected). This is just to protect the audience from super high listening volumes. And if your master was to be played on a system like his, with your eq and his eq, what would your song sound like? His example was only for monitor.
This EQ Curve really does work. This is a total game changer. Thanks for sharing👍🏿
:facepalm:
@@Strepite I got the waves 30 band graphic eq. I followed the eq curve recommendations. It removed all of the pain frequencies in my mix.
Thx for this vid. I missed the interview even though I am a Beato fan. I have to say this technique works really, really well. The Kick and Bass become so clear and present and all the mud, which I didn't know was there, disappeared. The A/B of this technique is a little disconcerting when you first try it but after about 2 minutes of listening and then A/Bing again, you will instantly come to hear how clear this technique makes everything. Excellent video. Thx.
I totally agree! 🔥
I mix FOH at the church with Steven and he sent me this. I tried it last Sunday and it was insane how much better the mix was! Can’t thank you enough brother! 🙏🏼
Only the best for the best! 🤘
I also did that mix in church and it sounded great
out of interest a month later are you still digging this eq?
@@markiethetiger2461 was is great just at first or are you still using it, really interested to see what people are learning over time about this curve? all the best
What kind of engineer are you not knowing this in the first place? This is as logical as it gets...
@2:10 "and this stuff...Hertz" well played. I'm sold. 😂
Cutting is always better than boosting, especially live. I’m pretty sure this applies to the final mix after mixing in the Guitar, vocals, and cymbals.
I checked out the original video and found what I think, is an even more accurate frequency spectrum by analyzing the brief image of his physical mixer.
I spent a lot of time re-crafting the details of this, and am pretty sure it's about 95% accurate:
80 Hz & below = 0 dB
100 Hz = -2.0 dB
125 Hz = -4.0 dB
160 Hz = -6.0 dB
200 Hz = -4.0 dB
250 Hz = -3.0 dB
315 Hz = -2.5 dB
400 Hz = -2.5 dB
500 Hz = -2.0 dB
630 Hz = -2.5 dB
800 Hz = -3.0 dB
1k Hz = -3.0 dB
1.25k Hz = -3.0 dB
1.6k Hz = -3.0 dB
2k Hz = -2.5 dB
2.5k Hz = -3.5 dB
3.15k Hz = -2.0 dB
4k Hz = -1.0 dB
5k Hz & above = 0 dB
thanks for that
Q ?
@@vidicsferenc182 I think a graphic eq like this has a fixed q per band. Unsure what that is.
I saw this video of Beato and was blown away, never checked it out. Love to watch your video now and what you did out of it... LETs GO!
This is why Pultec was so popular, it bases on this EQ curve “Smiley Face” or “V/U” shape. To balance a mix in Body because human hearing does need a help to perceive low frequencies, and on highs where the “vowel” area is and a gentle lift in the area is soothing for our ears, as long as we don’t push it a lot.
At the end the goal is not to boost or cut individual frequencies but seeing it as a whole, if we see all the spectrum:
A lift on bass frequencies human ears appreciate a lik help with, and a soothing mid/high range (vowel/formant area) both of them higher compared to the “muddy” area (150-300Hz)
Yes, but you don't need a Pultec to make a smiley face. You can make approximately the same smiley shape with any 3- or 4-band EQ. Any old mixing desk would let you cut the midrange while boosting the bass and treble/air. It's just handy to be able to sweep the mid-band to a particular frequency (e.g. 160Hz) where you want the greatest attenuation. (The Pultec naturally made quite a sharp cut in an ideal place if you did attenuation at the same time as boosting the bass). I think those 30+ band EQs are only really useful in a live context where there might be some weird resonances. Thousands of smash-hit records were made on SSL desks with only a few EQ knobs set to produce simple "smiley face" effects.
This is exactly what I was thinking, it’s a smiley face curve. Same thing I would dial into my parametric in my stereo when I was a kid.
Ah, this is brilliant! I've recreated your GEQ settings and it sounds brilliant! I also discovered how awesome GEQ is! If you set the range to 0 and then dial it up, you just stop when it sounds good! It keeps all proportions! Thank you and Dave and Rick!
I totally agree!
Started watching this on a random impulse RUclips click while I was eating, and I was already more than halfway through the video when I finally looked down and recognized your name... I'm already using a ton of your music in an RPG Maker game that I'm developing, but I'd never come across your channel before until now, lol.
Cool! Nice to meet you 👋
"5k and above beyond human hearing"...? You really said that!
Also, when you scoop out like that leaving low end, you lose headroom, not gain it. I agree with the clown below, that there is a lot of , I won"t call it bad, but certainly misinformed, and more so, misapplied.
I hear 20k if loud enough and Im 29 haha
@@DarkTrapStudioI can hear above 25k Hz...... but I'm a border collie.
This is something you do subconsciously in Electronic Dance Music especially if you are mixing for headphone music or trying to get loud with out paining for big EDC or Ultra shows. Only problem is processing power and time someone has to make a perfect loud yet destroyed mixes
Love the info
Awesome! EQ truly is the foundation of mixing. I’ve been working on it a lot recently. So crucial. You’re right, night and day improvement. I believe hi-hat is a higher fundamental than 2k. Also I think you meant above like 15k is the range people can’t usually hear. Loved the cue too!!
Thanks for your remarkable insights. I too saw the Natale - Beato video, but wrongly assumed it was a technique limited to live music / big venue / loud volume situations. You took the time and applied the intellectual curiosity to test it in a recorded music / studio venue / reasonable volume situation. You are quite right that this technique has a dramatic, positive, impact on mixing songs. I very much appreciate your work on this.
This curve (and variations of it) is a staple in live production sound. Has been for years.
Not really. Most of the time when you see a graphic eq like that it’s because they rung out the PA too much so there’s almost no chance of feedback.
@@ProDoucher At any professional level in sound, it should be assumed that the PA has been rung out pre-sound check. My above comment takes that for granted.
This is gold!
This is interesting. My immediate thought was, "But I don't want to have a the same curve applied if my conscious decisions about these areas may also be changing," so I set up a preset in Soothe 2 to add extra processing to resonances in these points and adjusted the Q of each node to cover a similar area to the curve. This makes a positive difference to every premaster I've put through it so far (more subtle than the EQ, of course, but maybe better in the long run?). [edit] 5k and above is NOT beyond human hearing, wdym?
As for doing the EQ curve instead, I made one working to -6dB with the mix at 100% so that it can be blended. I think the thing to do is start with the EQ's mix at 100, A/B the Bypass and listen for which parts it's negatively affecting, and then keep A/Bing as you bring the EQ's mix down until it's barely affecting those parts. You'll probably still be at about 50-75 of that curve, so you can definitely still hear it cutting into those problem areas quite a bit.
Cool experiment! I’m still playing around with this myself, so the point of this vid was to share the curve and see if anyone else is experiencing the same awesome results 😅
This is interesting.
Often these frequencies are cut off in one way or another when mixing, so it is worth trying to mix this curve in the right proportion.
Thanks for sharing this.
This is such an amazing technique! When I saw the Rick Beato, I just had to try it out for myself. Thank you for covering this!
Dave Natale is a legendary LIVE sound mixer. I think you’re missing the fundamental point of his video. He’s speaking very specifically about clarity in drums by cutting 160Hz and adjusting the 2-3kHz range for pain threshold when delivering program as loud as possible. Which is his signature sound.
To apply this universally outside of a FOH live sound application and for all genres of music and volume levels is doing yourself a disservice. Especially in a studio mixing environment where a full spectrum of information needs to be represented. I think Dave was quite clear about not doing this outside of his very specific gear, genre and volume scenario.
Mr.legendary Dave mixing in the 80’s when they didn’t have the tools and technology we have today to analyze the venue ,deploy and process our speakers properly for “ clarity and coverage “ , not to get it as loud as humanly possible,we dont have a problem these days making things loud! And just because u cut out the so called harsh frequencies and and the low end doesn’t bother you certainly does not mean that it’s not destroying your hearing after a reasonable dba level! Like Dave said in the video “don’t do it” especially in your fucking treated recording studio! Every venue and room is different acoustically! It is guys like this dip shit and legendary dave who spread miss information and everybody follows suite so make sure to make things loud till your ears bleed and have no less than 10 plugins per channel! Your doing great! 😂
Just tried this on a big orchestral track and it blew my mind!!
I used this idea on my home theater setup. It cleans up the mud and takes away some of the painful frequencies. I know a home theater is nothing like a JBL Vertec system or an EAW Anya/Otto system but the concept works well.
That's amazing. Thank you
I saw the original video from Rick beato and I was intrigued but I never got around to testing it. Thanks for the video because it did remind me to get around to actually testing this. Also thanks for the EQ settings in the comments. This is going to be fun!
I was curious, so I experimented with your values on a graphic equalizer using several of my non-mastered tracks, and I found that I could only hear an improvement at an uncomfortable high volume. While the sound does became clearer, it’s also possible to adjust the low-mid frequencies in other ways to achieve a similar effect. The surgical approach suggested works best for mixing live shows, especially if you have a physical graphic equalizer on hand.
A parametric EQ is what I'd use to achieve the same result quicker with 4/6 frequencies to adjust, during the mastering and final mixing stages. Also multiband compression is fairly common too in order to leave the muddy part of the mix out of the loudness war. Nonetheless, this curve provides a solid template to help you understand which frequencies to focus on, so thanks for sharing!
I turned mine up 10db and it sounds even better... great eq advice! Thanks!
I've spent the last several years trying to get my music sound as polished as the professionals, and most of the learning curve I have found is EQing. I stopped using ozone a couple of years ago and found I get better results training my ears to EQ properly. I just downloaded soothe 2 and that combined with what I've learnt with EQing has made me achieve my goal. I always cut around 2k and from 200 500 hz, remove sub from anything that's not sub and anything else depends on the sound I'm using or track I'm mixing. Interesting video, corolates with what I've learnt.
It totally changed my mix..Thanks for this info
I don’t know why this curve works but it surely makes a difference. I hear drums much more with the curve.
I’ve found 2 to 3dB to be the perfect amount (half of what I show in the video). It’s just a little extra clarity in the mix. Granted, all my music is instrumental / orchestral, so that probably helps to showcase the shininess of the high end.
Just tried this and wow! I used the Kirchhoff eq and tested this. 4 db seemed to work for the track I was working on but seeing how this can make that drastic of a change in clarity is astounding. Thanks for sharing!
Right there with you! Yeah, it doesn’t always need to be so extreme. For Dave Natale, he mentioned that he usually goes -15dB at the lowest for massive stadiums, which makes sense with all the low end build up with subs and thousands of bodies in a room / hundreds of feet from stage to ears. But in the studio, I’ve found 3 to 6 dB to be the sweet spot so far 🔥
Would you be kind enough to share the Kirchhoff preset please? Thanks.
@@pukkadelta4486 for sure!
Fantastic video. Thanks for presenting this so clearly.
Game changer! Thanks for this 😊
i was thinking of doing this too! good vid. I was playing live once and had a horrible experience with overly loud monitors on stage and I reckon it was the 2.5k that nearly did me in. Was really stressful.
This curve seems to keep the mix in a sonic place and then even after mix and effects etc ,,, seems to kind of automatically keep things within a happy range to the ear... on its face it also seems to help with masking issues in those ranges... been using it for a while on just about all my mixes.... and it doesn't matter if you mix in mono or stereo from my experience using a curve like this... I have dynamics built into mine but I can adjust to the uniqueness of the mix as I go.. Great to hear your vid....
For someone who has mixed for 24 years, this is seriously helpful.
Glad to hear it! 🤘
@@StevenMelin hoping this works.
I remember back in the day when starting in 2000 I use to boost the EQ, and used it as volume. I kind of stopped that, so this takes me back. Seems what you start with you should continue using.
Keep in mind that this EQ curve is for removing unwanted pain frequencies, not boosting anything. But because this will remove volume, you can boost it back with the output equal to the amount you removed (-6dB removal = 6dB output gain more or less).
@@StevenMelin yeah I find that helpful so I hope to try it. When I mix my personal music I have a certain way I do it. It might cripple and squeeze out the life of my mixes but trying is really all I can do.
This is well known in studio mixing also. They call it a scooped mix. And yes it can definitely make things sound more pristine and clear. But unfortunately you’re also removing the most important part of a mix which is the midrange. My recommendation is to definitely study this and learn how it works, but in the end, you wanna know how to dial in that mid range. Learn how to mix the mid range correctly and you’ll have much better mixes.
Midrange maybe the heart and soul of music, and the easiest to hear, but this is also the reason it can be so ear grating, so this totally makes sense, with the gain staging
If I can add to this, IMO this curve is honestly a super nice touch to a mastering chain. BUT, it doesn’t negate a proper mixdown. There’s always moving parts and if two instruments are clashing somewhere, fixing in the master chain with this is like putting a band-aid on a bullet wound: it may hide the problem but it didn’t fix it.
Other thing I feel worth mentioning is that when I set these up in my Pro-Q, I really dialed in the Q and dB/oct, and you HAVE to use the gain scale to dial it in.
@NerismaStudios Great points! I totally agree.
I'm a big fan of "scooped" masters or what used to be called the "disco smile" that emphasised kick, bass, and hi-hats (at the expense of vocals and mid-range instruments) as it made things sound groovier in the clubs and on the radio. I'm unlikely to make a severe cut at 160Hz though. Many of my favourite records from the '80s have 'ear-splitting' snares at around that frequency. It might be painful to hear them in a live setting without a good engineer utilizing his 30-band EQ to reduce their prominence at loud volume, but a lot of great records (by Madonna, Prince, Michael Jackson etc) would sound weird/terrible with their snares turned down by 6dB.
@@AutPen38 mercy me lord it's crazy what people like these days...
Many people here are forgetting that after applying this eq you still need to EQ each individual channel to for each instrument or vocal, then you get the results he is talking about. The reason it works for steven in a Studio aetting is because his tracks are already mixed how he want them, he just added this EQ and turned it up.
Individual instruments still need some tweaking afterward in volume, but yeah - good point!
It works like magic!
Thank you for giving us your curve here.
My buddy Billy Decker always just tells me, "Find the pain, reduce the gain". It sounds so simple...because it is, but it works. Get rid of the annoying stuff, and let everything else shine through.
You're essentially adding volume so you think it sounds better. You're adding 6db across the board but only dipping out certain frequencies by 6 dB or less so there will be a net gain. This is why you can put it on almost any mix and you think it sounds better. If you normalized for volume it would paint a different picture. (try it, you will come to find the benefit or lack of benefit would relate more to the overall frequency balance of the mix) Also, there is no such thing as good and bad frequencies. You're hornswoggling yourself with volume, This is a very classic mixing pitfall. One good rule of thumb is if it works on everything, you can bet you're adding volume. Sorry to have to call you out on this but you're pushing bad information that most people on here will not have the experience to know better. This is why so many people are universally responding to how crazy it is that this works on every mix. Everyones just adding volume to their mix hehe. Great channel overall though !
Indeed. That 6dB boost after only cutting some frequencies and mostly by less than 6dB just means the whole thing will sound louder, which usually sounds better. (it could also cause clipping). As I understand it, you only need 30 bands of EQ for mixing live music at very loud volumes on very large speakers. This is because our brains/ears react to sounds differently at different volumes. When music is played very loud, the mid-range sounds much harsher/fatiguing than it does at normal volume, so the live mix engineer needs to cut the mids more than a studio/mastering engineer does for recordings. Similarly, if you're at a festival, you want the speakers to pump out tons of bass. You don't want that on your home speakers or on the radio. In normal mixing, you want the midrange to be relatively loud, to make vocals and mid-range melodic instruments intelligible.
Jeff Ellis out here saving people worldwide from Ignorance :D
Bro these RUclips mixing tip video’s are destroying the producer community. These guys just post nonsense
@@Snapshot-d8o Mother nature is correcting for competition--let her cook.
Would this work with two track beats and vocals ?
Eye opening, thanks for sharing
This is strange. Just tried it on a project and it sounds pretty good to me. Thanks for sharing!
It’s like audio wizardry! 🧙♂️
ok, I tested this out! Its pretty darn interesting. I'm going to test this out for a while longer, until I know its a good way to mix or a waste of time.
Either way its fun to try out new things.
I'll give it a try. BRAVO!
like a person who realy strugle to improov in mastering
i will difntly try it
thanks for sharing
I've approximated the curve in the Ableton EQ using 8 bands, then put on every individual track and using the Scale % to adjust to taste so I can remove harshness without gutting the mix entirely. Works great! Thanks.
you could also have multiple eq 8's to cover all eq moves.
@@rossco78 That's a bad idea.
casn i get that eq preset...because when i try it i cannot get that curve with the m
If you really want to try using a graphic EQ, there is a free one by Voxengo (makers of SPAN) called Marvel GEQ that has 16 bands, which is more than enough for mixing normal music. The 30-band models only really make sense for live settings where the speakers are playing VERY LOUD, which causes some frequencies to sound louder than they do when played at normal volume.
wow, must have missed that video. But I've been applying a notch at 4k a lot lately, it really helped my listening experience. It's interesting this curve cuts so much at 2k though and the sound still has intelligibility.
Depending on the venue and how loud it is send out of the speakers. The freq don't hurt when it's not loud.
No rules, have at it. Put 10 audio engineers in a studio, and you'll get 11 different mixes. Because it goes to 11. Thanks for the great video.
I have been meaning to try this since I seen the original video, thanks for sharing!
Give it a shot!
A variation of this has been my go to curve for front of house for a while now. Got there mostly through trial and error.
It's easy to find the mud and pain frequency's but it's easy to miss what should be there to maintain the energy of the music.
I try to keep as much as the low mids in there as possible otherwise things can sound a bit dead.
That's of course assuming you've got a tight fresh sounding system to work with.
Yank you for sharing this. It's quite interesting, I will try it out.
On the 1:17 sample it sounded way better with the EQ applied, but on the sample starting at 1:30 the EQ buried the "power" of the segment, but it did change it a lot, so "It's night and day" is true!
I guess it shows that there is no blanket statement, but only preference. But cool video nonetheless, I was entertained a lot!
Been doing this in Metal and hardcore production for awhile because of the amount of low end and chaos that needs to be controlled. But its done on the individual instruments not the whole mix buss
I made a fab filter Pro-Q preset version of this and MAN, this shit WORKS! Everything sounds so much cleaner.
🤘🤘🤘
How did you do it in Fabfilter Pro-Q?
i have tried, and just plotted the values in, but it didnt sound the same as a 32 band EQ.
For all those people wondering about the Q settings: "For its 30 main bands, the GEQ Classic component uses “Proportional Q” filters. The Q value is proportional to the gain adjustment; increasing a band’s gain narrows the filter width."
So it's hard to recreate those settings without a similar working plugin
HELL YEAH FINALLY 100% SCIENTIFIC PROOF THAT ALL DRIVERS, HORNS, CABINETS, AMPS, CONSOLES AND ROOMS SOUND EXACTLY THE SAME!
I've been waiting for this comment! LMAO. And, who uses a graphic in 2024 to tune a PA??? LMAO
@@kenbeaupre9973 you won't believe it, this year i once did live sound with an analog system, and i used a graphic like the one with the faders for every frequency to tune the speakers 🤣🤣🤣
This is crazy, never heard of this kind of curve,.. will check it out as well 🙂😃
You & me both! It’s absolutely wild. Try it out! 🔥
☺
6:25 "5k beyond human hearing" Lmaoo okay. Sure whatever you say man. 😂
That was a mistake! I’ve mentioned this in the comments 🙄
Interesting....I will try that out.....but with a mix knob.... Add the % of this eq to my mix ....just to see how much it needs that curve.
Interesting. I should give it a shot sooner or later.
Your music has gotten so good! EQ is by far the most powerful mastering tool you have. 😎 (my credentials: Apple Digital Masters certified). You will find a HIGH LEVEL ABOVE THAT if you will focus on getting rid of RESONANCES your music.
Very kind of you!
This is interesting because Ozone kept pulling 150-160hz out of my mixes, not much like -4db. Then you can solo that band and go directly to the instrument and pull it out for less possible phase issues. It was doing this to make the maximizer more optimal and to allow it to be spanked more. I would still keep Ozone, they were already doing this with there mastering assistant AI tech. There has to be a bit more science to this, involving the fletcher munson curve maybe. Wonder if Soothe can be set up to mimic most of these bands.
Wow for 44 years I thought I was the only one that did this😂 actually mine was slightly different I started a slight scoop a 2.5 to 6 k then slight slope up starting a 10k to 20k to give it a delicate high end without pain. Unfortunately most systems don't have what I call really high quality ultra high end, that has a long range throw. But I will say i could mix a very high Db show and my ears would never ring at the end of the night. Almost everybody else I would go see would cause me to not get any sleep that night because my ears would be ringing so bad. So maybe that's the litmus test if your ears are ringing at the end of the night you might have caused you and the audience pain.
this works amazing
What are you using to monitor? Those headphones presumably? It would help to know if you've monitored on different devices or in different settings for the purpose of the demo and assertions being made.
So you're dipping the mid range frequencies (and cutting some specific frequencies), which, if those headphones are more emphasised in the mid range, effectively means the bass is being increased and the above 5k sparkly or airy frequencies may now stand out. Therefore the sum of your original mix (or simply the sound of the instrument preset), and the action of your monitoring device, and possibly your room, is being adjusted to allow less typically heard frequencies (with middy headphones) to be heard a bit more and give a fuller sound.
Making such big adjustments to a mix may get results in one very specific set of circumstances, but presumably wouldn't translate to others, potentially giving very unpleasant results in other circumstances. The likelyhood is that the good results from this template curve has highlighted a bias in one or many of your variables.
The original source material, despite providing some radical inspiration, was specifically referring to mixing the audio coming from drums in a live music setting, to reduce discomfort when the music is being played very loud. I've applied close to that curve to the eq on the amp for my front room hi fi system, and obtained great results! Great to try things, great to acknowledge their original use-case.
Great points & questions! In my situation, I’ve enjoyed applying this curve to numerous instrumental (soundtrack genre) tracks to great effect, auditioned on monitor / headphones / car / phone. Naturally this curve won’t improve bass-heavy genres like EDM / hip-hop, but in my world focusing mostly on punchy orchestral music, this does wonders. And as many have commented, it’s best to dial it in to the context. I have it as a preset at -6dB range & 6dB boost, but that’s just a starting point.
Quite interesting, my first thought was oh "its just a smile eq", but hearing why the individual frequencies are treated that way, makes me wanna try it, will use it like you with a graphic eq that lets me set the range for the whole eq
Umm... but not all audio sources have that exact freq energy.
Sometimes that EQ curve will work, but a lot of times it won't.
😂 OMG it’s the holy grail magical eq setting that I got off the internet from and some old FOH sound guy,look mom your sons a genius! Your all fired!!!!!!!! I wouldn’t let this guy mix a fucking cake
basically the smiley face curve
yeah it’s literally just a more convoluted smiley face eq 😭
The sea and sky is basically blue
uwu curve
Right
Just tried it🚀🚀🚀 on my master well dang
So I tried a version of this last night and loved the result, I think the smart way to do this is similar to how Dave does it, his adjustment of this curve is dependant on the room/venue he's in so I think these "rules" can be applied in a mix dependant context.
So I used a graphic eq last night, cut everything in between 80hz-5k to -6db, then based on his I "hate" 160hz, 630hz, 2-4k pain concepts started adding these frequencies back into the mix one slider at a time but making sure that the core freqs he mentions are relatively lower than the rest. Essentially using a similar curve to his but custom for my mix, I think the overall concept is still very useful for studio mixing if applied in this way instead of just being a preset.
I mean there's no reason to cut -6 or -12db of 160hz out if it's not in your mix but looking at specific "problem" frequencies and testing reducing them judiciously makes sense
Fantastic application of the EQ! 👏
@@StevenMelin Thanks man and thanks for the inspiration to check out the concept! If I had only seen Rick's video I would have thought to myself that this technique could only apply to live sound :)
That seems to be a common response! But sound is sound…regardless of in studio or live stadium! What changes is the amount to dial in.
You can just listen to the mix and take away frequencies that are annoying. There’s no reason to cut it in this specific way for every song.
Also 5k is nowhere near the limit of human hearing, that’s 20k
Thats just resulting in the EQ smile curve.what used to be in car stereo and defined as "Loud" button usually.
Btw I checked (with matching the loudness of course and not just adding 6db). I said, why not, it's probably nonsense but I'll check. It definitely ruined my mixes, each and every one of them😂 I am a mixing and mastering engineer so I guess if you get good sound already - dont do that because it'll ruin it.
That cool if you trust someone quoted as saying: "5k and above is kinda beyond human hearing".
Glad someone else caught that classic!
I watched the video as well but thought it was just for live mixing, definitely will try this but I think it shouldn’t be applied on the masterbus. Getting rid off these annoying frequencies on individual tracks would be a better approach imo. But that’s just a guess I have to try it out myself first lol 😊
Give it a shot on master bus (with some added EQ on individual tracks as needed too) and let us know your findings!
It’s what a Pultec does
i have been doing this for years in live , only recently doing post production . I strongly agree on that fFletcher-Munson Curve is highly flawed
I came across the same video too , haven’t tried it but will do so today
There is so much misinformation in this video I don't even know where to start...
How’s that?
I believe you, ... so, why don't you educate folks..? If you don't know where to start, then you are focused in the first place....
@@morbidmanmusic Just watch the video that he's refering to. It is a technique for live mixing (so you kinda know for sure people are listening to the music very loud which makes a huge difference). The main goal of the technique is not intended for mastering. He pulls out mainly 160Hz and some around 2k-4k because these frequencies are tedious in a live situation. So he does that to "save" peoples ears - not to make it sound better. That is a completely different approach. In mastering you try to make your sound as compatible as possible by having a balanced mix.
Also there is no such thing as a magical EQ curve that you can slap on and make it sound better. It's even worse than to just "Slap on Ozone" like he jokingly said in this video. Think about it - if there was such a thing you could slap it on forever and it would always sound better. Ok but maybe you interpret this whole thing like: "mix flat and then apply this curve". Would still be a dumb thing to do. Since every composition is different. Maybe the punch of your Kick sits at 160Hz ? Would be a pretty bad idea to remove it just because you blindly add that EQ curve. When you EQ you try to balance things. The curve your track needs could be exactly the opposite of what he's showing. But yeah slap that curve on because it is simpler than listening and thinking.
Great video bro !! less hashness with eq !
That trick for live sound 😅
Dave was speaking about LOUD live performances in a large venue...think stadium. Not the cans on your head.
Amazing video, i’ll try this preset
Dave was talking about the drum EQ. Why would you ever remove so many frequencies from your full mix? And what does it have to do with Ozone? It's a great mastering tool if you know how to set it manually.
Stop being rational and logical.
@@morbidmanmusic 🤣🤣🤣
I use something like this…but it’s just the way it turned out…I always eq to my voice at high volumes….ultimately I prefer to have the 2-2.5 kHz pressed down with a multi band compressor …as there are things which need the 2-2.5 but the voice always being the loudest…needs those frequencies pushed down..
I think if you have to reduce something by 6db on the master, something is wrong in the mix. The mastering stage is usually for subtle moves. The heavy work is done in the mix
Yeah, this will mess with levels of things in the mix really badly. It use to be "fix it in the mix" now, its one step beyond... I always liked know what you want and get it at the source... those days are slowly going away.. let AI butucher it for the next decade too.. ugh. Now I'm depressed. Lol
wtf, this is incredible,
Hello! This technique seems very similar to mixing with a limiter at +6 and then removing it when exporting, since by having those +6 you end up mixing at a much more limited level, precisely in the mid-range since, as you say, The human ear is much more sensitive in this range, only in a different way, we would be reaching the same thing basically. I have also seen a video where, with a multiband compressor, the engineer in question compresses the midrange and expands the low and high range, obviously with parameters that work for him. I'll see how it works for me with this technique, greetings!
thanks , I saw the video but got intimidated by fabfilter thanks for showing the eq curve !!!
Yeah! This definitely simplifies it (and sounds better as a result)!
Hey steve ive just found your channel and im happy to find another cubase user so ive subbed. Hope it helps
Man I thought the ozone layer depleted again
☁️ ☁️ ☁️
this is brilliant just want ted to ask, do you add individual Chanel this ? as you play the strings ?
So attenuate all frequencies, got it
Nice. I'll try this on some trailer stuff. :)
Just try don't be hesitate🎉🎉🎉