Parallel Filters, Pro Level: Flip It And Reverse It
HTML-код
- Опубликовано: 2 окт 2024
- In which I introduce the concept of filter inverting, and show you a few of the tricks it allows.
Music: 'Frown Upside Down' in all the usual places. Bandcamp link:
dan-worrall.ba...
Parallel Filter Tricks playlist:
• Parallel Filter Tricks
Reaper Tip: Make a 3 Band Linear Phase Crossover:
• Reaper Tip: Make a 3 B...
Waves H-Comp (affiliate link):
waves.alzt.net...
If you like this type of content and you want to see it more often, consider signing up for Channel Membership: / @danworrall
Or you could just buy me a coffee:
ko-fi.com/danw... 
Хобби
Dan, if I can beg your patience with a potentially stupid question, as perhaps you've addressed this in THIS video, BUT:
What do we achieve by using the opposite filter and flipping the polarity of the signal, versus, just using the appropriate filter type to our task, in phase?
Maybe I can concretize that question to make it explicit: If I want to cut say 3 db of midrange, say at 500hz, with a gentle Q, of my mix, why would I not insert an eq on my mixbuss, set a bell at 500hz with a gentle Q, and drop the bell by 3db?
How would using the opposite filter with flipped polarity (I suppose on a parallel buss?) get me anything different?
I've seen you demonstrate many different techniques using parallel but inverted signals, in particular the Super Separator, for two instruments/signals in the same frequency range, by creating a comb filter on the first signal, and the same but inverse comb filter on the second signal, thereby essentially multiplexing the two signals... the separation is... magical! Really next level, and I'm literally about to use it on a mix with a chopped Rhodes sample and the guitar buss, where I've filtered the Rhodes and the guitars for aesthetic reasons, but they technically occupy, and therefor mask and generally lack clarity, in that eq range while being played simultaneously, which they are pretty much throughout the song.
I write this to say I understand your gospel about the power and potential of polarity inversion and filters... but in this particular example, I didn't really grasp what you were getting at. Again, I understand technically what you are doing, and what the effect is, but I'm not understanding how it is different, how the effect is different, than a standard application of inline eq.
I've been so verbose here in an attempt to articulate this as accurately as possible, so you can, if you choose, respond to exactly what I'm asking.
And possibly request a slight augmentation of your video demonstrations, to give us a LITTLE more time to listen to your A/B's. You have a tendency to VERY quickly flip between A and B and then immediately move on. This doesn't allow the slow and or dumb ears among your audience, of which, I am one, to fully hear into the differences of A and B. And in particular in this video, you demonstrated A, while talking over it, then stopped speaking and switched to B and let that play for a moment then moved on. I, personally me, but I expect others, and potentially many others with less experience and dumber ears than me and mine, could not even begin to hear the sonic difference between A and B you were demonstrating. I know the general RUclips audience demands immediate and constant stimulation, so the necessary fast temp, and perhaps your time is valuable! so you are rushing. I get it all.
But please, for those of us who can maintain attention, and recognize the value of what you are trying to teach, that sort of next level mix knowledge that seems almost occult or magical as it is beyond simple volume, compression and eq settings which themselves can take an extremely long time to discern and control... can you slow down just a bit when you A/B changes and can you stop talking during that demonstration so we an hear the source material being altered?
With all due respect, and really, admiration! Thank you very much!
What you gain: first of all you can share a single filter (EQ band) between multiple channels in different amounts. 3 dB cut on the master is 3dB cut for everything. But your parallel filter could be cutting 3dB from guitars plus 6dB from drums but only 1dB from vocals, depending on the send levels from each part.
Plus you have total freedom to make it dynamic or non linear with any compressors, gates, saturators you have available. And morphing between lowpass and high shelf, or notch and bell cut, is cool and useful, and not really possible otherwise as far as I know.
Regarding examples: noted, I'll see what I can do. But I'm keen to keep people's attention as well! Really the best way to hear what I'm talking about is to try the technique in your own mix.
@@DanWorrall i second the request for slower A/B testing, or at least not talking over the A or B part. That’s something that catches me off guard in almost every vid.
@@whatskraken3886 Second.
@@DanWorrall Hi Dan, another amazing video - techniques I never heard of and would take me a decade of practice (if ever) to think about them. But I also would love to have a bit more time on the A/B without you interrupting it. We are not as skilled at hearing those and you are - and those videos help to train our ears too! :)
@@DanWorrall A simple solution to the A/B part would be: add text over the switching, so everyone can follow along with the information you want/need to share, while not audibly disturbing the comparison.
Altough i haven‘t figured out wether or not this fits into your „minimalistic“ style of visual presentation
"Clever but still wrong" - literally the story of my life.
haha
Learning that smart and correct are unrelated concepts just means you're trying things XD
Wrong definitely…! :P
Amen to that
weird flex but ok
I liked the combination with the compressor/gate. It's like boolean algebra for audio.
I, as a non-reaper user, would whole-heartedly appreciate reaper specific video with further tricks. I had a great deal of fun reassembling your 3-band linear crossover reaper trick in pro tools and logic.
I'm sure Dan has forgotten more tecniques than I know. Thanks for the lessons!
I think I don't know exactly what you do mean, but I'm sure i'll rememebr.
@@Rhythmattica what you mean by that?
Meaning?
At the risk of sounding like an ass...
This is the first time I've found a video on youtube where I had to watch it a second and third time and build a session in order to really get what was going on. What a joy!
In an effort to explain myself, of course I have found many things that I had never seen nor thought of before. But in every case I have been able to associate the process with other processes in my bag of tricks and come away with an overall working understanding of the idea. "Ooh. Cool idea. I'll try that next time it comes up." Not this time. Flummoxed, might be an accurate descriptive. I found Dan and FabFilter during "The Break" and have been excited over every new video he does. I am genuinely thankful for this channel and the few others really tackle the more complex stuff.
Great Work! A value to humanity and the future, as such.
I love your voice so much haha, very not boring to listen to
OK, I'm going to have to watch this one like 10-12 times LOL. Brilliant
Literally one of the most useful tricks I've ever come across
Thanks so much for this series on parallel filters. Really excellent explainers, and these are super-valuable mixing techniques. I knew and used the basic "band pass in parallel" to _boost_ certain focus ranges, but you've inspired me with quite a few subtleties! I especially love the inverted phase tricks for dynamically cleaning up boxiness and mud.
Absolutely fenomenal usability of all your video lessons, this one in particular! This video alone could save at least a year of learning sound-production anywhere else and substitute at least a dozen other videos from vast sourses. I wish I had it before, it would have helped avoiding many mistakes and saving tremendous amount of time. Thank you very much, Dan! I greatly appreciate your knowledge, understanding, work and your willingness to share.🙏
I read that new thumbnail as, "Turn that frown downside up" lol
"although that's not going to stop me putting an affiliate link down below"
Lol! Love this guy.
Nothin wrong with that, especially when pointed out like that, companies can learn some stuff from this guy
insane routing skills. he.. i actually used quite some of your parallel bandpass filter tricks lately. you really manage to make me excited about simple EQs
I'd love to see what changes/additions you make to a default Reaper setup, there are a few other Reaper RUclipsrs that make some interesting suggestions and I'd like to know what you do for your own workflow, what skin(s) you prefer, etc.
Thanks for all the quality content, your videos have inspired me to get more creative with my mixing!
As a fellow reaper user, please do consider it.
Why this guy doing such logical and educational stuff?
#respect
To sell his NFTs obviously
@@TransistorLSD lol
I like v3 of the thumbnail the best, _now_ I'm going to watch the video
Yes for the Reaper specific processing!😀👍
01:10 Whooooo! I got it right. Thanks mandatory "introduction to quantum mechanics/spectroscopy/etc." courses during college (with all the wave mechanics shenanigans it involves). Who knew chemistry&physics would overlap so much with music production...
Well, as sound is a physical phenomenon, it was kinda obvious. But I keep getting amazed how much it helps in understanding what is going on in music production. E.g. the harmonic series is pretty much analogue to how electrons behave around nuclei, regarding their "quantised" energy levels (hey that is why they call it quantum mechanics 😲)
This is the best game show on tv!
Wow man, your past two videos on parallel filters are pretty game changing when it comes to making drums punch through. In some of my favorite edm/bass music mixdowns I see this HUGE dip at around 300 hz that looks like it keeps getting sucked to the floor of the analyzer based on levels... not just an eq cut. This downward expansion trick seems to do just that and the flexibility of being able to send the busses at different levels to the parallel channel is great. Amazing work... Great videos as always, cheers and thank you.
This video RULES! Thanks, Dan.
complex math with real world results. Wow. I kept having to remind myself from last week's video why I might not still just use a regular eq rather than the parallel filter, but the reasons are now obvious to me. More control. Add saturation, compression... and man, now this, inverting phase, compression turns into expansion, expansion turns into compression. Now another week spent trying to remind myself why... My brain only allowed me to get half-way through. The tab is still open for the 2nd half later. Maybe you could insert a lunch break into your videos.... or longer transitions with meditative music.... then jump into the "the opposite of this is that". :). I'm inspired. Thanks again.
This made me laugh so F**KING Hard omg! 😂
Great video as always! My only minor suggestion would be to make the A/B examples a bit longer.
Fantastic information Mr Worrall!
PS I love your weird jazz music too
You're the only one sharing these "secrets"
wow, my IQ literally increased by 1 point, thanks Dan! 😄
U mean eq
Hy Dan. Thank you for the tons of great content. I appreciate your factual approach and self critical perspective a lot. I've learn't so much from you. But i also can't remember, where you already touched the topics in the question i have. Please excuse me asking specifically.
When low cutting a snare sample (using Pro Q3 in natural phase mode) to get rid of some unwanted information, i make the following observation:
1. Sounds cleaner for the mix. Better separation for the elements below. Thats what i want and aimed for.
2. Obvsiously... Phaseshift. Channels L and R, previously being perfectly the same, now peak differently. (you talked about this...)
3. Overall peak is increased. (you talked about this)
4. The transient of the snare loses centeredness.
5. Low shelfing doesn't do the job.
Changing the sample is the least wanted option. It's beside that little beauty mistake the best fit and sounds exactly how i want.
What is a good idea to approach this -now- unsatisfying trade off (not getting 1. vs sacrificing 2. - 4.)?
Cheers!
1. Yeah, sure.
2. Not sure about this. Are you sure you're filtering left and right the same?
3. Yup.
4. Are you talking about stereo image? If so, same answer as 2. If you're missing the punch with the filter in, try flipping the polarity and see if that helps. You might need the polarity the opposite way around with the filter in.
5. Have you tried a really gentle 6dB (1 pole) filter?
@@DanWorrall Thanks for bothering :)
2. I'd give a naive yes with Pro Q3 Set in stereo (Stereo Sample)
5. Yes. Doesn't quite make it like the 12dB Slope but has the same problem
Going to need to watch this one a few more times, probably a dozen or so. My brain hurts.
Youre the best Dan! Thanks for all the great content!
I think Dan is a pretty cool guy. Eh filters drums and doesnt afraid of anything.
BUT WHO WAS PHONE
pretty neat tricks, particularly the last one.
Would definitely work on my DAW, which isn't reaper.
You could just sidechain the kick’s frequency from the bass in Pro Q3, I don’t see how the last technique in the video is any better/different 🤔
That's some G.O.A.T level 'I will never need but am glad I now know it' knowledge right there!!!🔥🔥🔥🔥🔥
Always top tier content
I wouldn’t mind a next part for Reaper users!
Genius
"How to create Cool Dynamic EQ for poor people"
interesting method...thanks...
I just wanted to say thank you so much for these past two videos. I'm a musician, but on the side to make extra money, I edit and engineer podcasts. These parallel filter tricks let me get 50/60% of the way there from just a decent home recording setup that most hosts have. This inversion trick helps especially remove those muddy frequencies while keeping the vouice sounding natural
This sounds a lot like the magic behind the Soothe2 plugin
man i‘m in love with your videos
Make the reaper video and see if the users can come up with insane methods to replicate it for other DAW's
Dan i wish you would:
- let audio examples play for longer without you talking over them... 1.5 seconds just isn't enough to form an opinion
- if you're comparing 3 audio samples, like you do at 13:52, instead of saying what's coming next ("here's with the gate:"), write it on the screen. easier to follow, and your voice doesn't obscure the difference
Very interesting video, as always!
Dan, maybe the next part, you can explain how to turn this into a custom phase cancellation deesser.
Brilliant Master Class, as usual, Sir Dan !
(-;
Yay for Dan on a Saturday evening!
dan's videos like this usually give me a headache
but the odd tips and tricks are worth it
Same 😂
isn't this how most dynamic EQ's work? atleast parallel ones
Most dynamic EQs are not parallel. But yes that's how Nova works. Setting it up manually gives you more options for things like dynamics processing, plus you can morph between a notch and a bell cut etc.
I keep coming back to this video to remind myself how fucking dumb and ignorant I am when using EQ.
Dan...you're a legend on a galactic scale, that's exactly what you are. And if someone tells you otherwise, let me know who is it so I can sneak into his house and shave his pet's head, to send him a message.
Killing it, Dan! I'm loving your evolution on your channel. Great work!
I literally have no idea what you said before you started working specifically on the drum bus. Was listening to the music. Cool microtonal scale, whatever that was. I hope you weren't saying anything too provocative🤣 I saw the pictures at least.... you were turning an EQ into a volcano and a black hole and back, AFAICT....
🤣me checking out at 6:08 again
Okay I need to watch again, whatever you did a bit after 7:14, when you switched that channel in and out... I need that.
have you ever worked with nate mercerau? your music reminds me of theirs (great btw❗️)
This works so well. Dan Worrall is a proper smarty pants. Love it!
I may be biased as a reaper user, but please sir, can I have more?
at 2:36
that’s the exact same drum kit on Kool and the Gang - Fresh.
Have no clue what's going on here but I'm going to stay.
I too like to break the no-reverb-on-bass rule as often as possible.
i should take a look at how realtor’s built in filters show the affect on the gui and see if i can make an ens that shows you what you’re doing while letting you have a bunch of controls on parallel eq. there’s a plugin that works like plugindoctor but i forget the name, and it would be hard to set up metering with with everything duplicated over to an instance that’s used for the metering
also would be cool to see what happens if there’s distortion on the filtered side, maybe that could be a good followup
because its hard doesn't make it impossible! Stay safe!
While this all is super smart, I don't get why not just use dynamic eq ?
Why does the thumbnail of this video keep changing in my feed? Susse
2:21 Well, one of the reasons is when you're using FL Studio, the Fruity Parametric EQ 2 plugin does not have a built-in all-pass filter, so what I do-thanks to your video-I open the Patcher plugin which allows me to route a bandpass in parallel with the original signal (just like you showcased) and create an all-pass without having to pay for FabFilter's Pro Q3 because I'm just well-off enough to have one of my relatives purchase an FL Studio copy for me but just broke enough to not afford a bundle of FabFilter's plugins lol...
Anyway, great video as always!!
Ayyeee weekend goals just expanded and saturated
creating a second track to add into the recording as I play through the first tract?
Dan, how many times do you update your Reaper theme? hehe
every video teaches so much, thanks Dan
If I only could remember all this ...
First of all... you are doing God's work! Thank you for your expertise and for sharing it so gladly with everyone. I must admit, I still don't understand a lot of your videos, but whenever I break through, it's just gold nuggets lying around!
I have a question though:
What is the difference between the last example (lowering bass when kick hits) and using a normal multiband compressor on the bass sidechained to the kick? Is the only benefit being able to use this on a SEND track and send multiple sources to it?
1. You don't need a multiband comp with a sidechain input.
2. The multiband comp is effectively a dynamic low shelf EQ. It won't morph into a high pass filter.
@@DanWorrall Yes, thank you! I see now that even Pro-MB only has shelf options. Once again, thank you! This is amazing
Wait...were you a magician and a comedian in a previous life? I learned a lot about filters and had a good chuckle. Thank you.
To anyone who saw comnts about torrenting it, I would strongly advise against doing that. Pirating a DAW can be a huge fine. Not
I was thinking: Would this idea of using gate in the parallel low end filter be the basis of the low end focus from izotope?
You are fucking god, man!
Do it, for a Reaper guys.
Am a Cubase user. I wouldn’t mind seeing more reaper specific stuff. Maybe that will convince me to finally make the switch ;)
What's the point of this video?
Holy shit, Danman :0
The first few minutes were completely over my head, but as soon as you were talking about the practical applications (and the examples given), I got a brief glimpse at what I actually might be looking at: and I was drawn in!
Since you Dan, were the one who introduced me to Reaper, I'd say (on behalf of all other Reaper users of course...) it'd be just fair if you could give us a Reaper specific follow up - showing us in depth what's going on; because this is real advanced stuff...or is it just me? Anyway - great video! Thank you for your passion for this - I'm glad I once subscribed!
I JUST DISCOVERED THE BEST “de harsh”/ “de mud” TECHNIQUES EVER! Thnx Dan !
Isn't the 6dB inverted lowpass (so high pass) of the bass ran into a sidechained gate (to the kick) basically.. the same as running a Pro-MB on the bass with a low band (or low pass band) and triggering the compression by sidechaining the kick to it? What exactly is the advantage of running this in a send channel when you could achieve the same with Pro-MB? After all, Pro-MB will also have the opportunity to dial in the attack and decay - hell you could even dial in mid/side to only duck the mids of the bass when the kick hits. Just throwing ideas here, but I'm trying to understand better what is the added value of all these inverted-bandpass-filter-sends ?
Similar. But MB won't morph into a high pass filter, it'll stay a shelf. And you need MB: my method only requires a 1p filter and a gate. You've still got attack and release on the gate btw, and there's nothing to stop you processing mid / side either.
@@DanWorrall I see. Indeed it will be a shelf 'ducking' out of the way, rather than a full high pass. I'm wondering if the difference is noticeable. Nevertheless really enjoying these inverted filter tricks and the super separator. Gonna try it on a mix I had a similar problem with this weekend
Thanks, this is nice stuff!
Hi man...u can now do that parallel routing with waves...where u can now load third party plugins
Bahahaha why would waves not let you manually compensate gain on that compressor so silly
Been waiting for this since the first premiered, and now I know why! DOPE
I like peanut butter !
Why not just multiband compression? Now, i guess, you have to make the second part :P
Hey, thanks 👍
This is fun playing around with.
My brain hurts.
I recently got a plugin Tomo LISA because it operates similar to this process, seems helpful
0:56 why is the top end of the resulting curve slightly above zero?
Love it
It’s your preferifenwenyen
Awesome video as always!!
Not sure if it’s because I’ve only had 3 hours sleep, but can’t really work out why not just use a dynamic EQ unit? Like TDL NOVA. (I’ll watch again later but, thought I’d perhaps throw out the idiots question).
hold up, huh???🤯
Interesting, but isn't using a Pro-MB and triggering it with the kick the exact same thing on bass ? You can use a shelf on the low band.
Similar. But it will just be a low shelf, it won't morph into a high pass filter. Plus, you need MB. My method only requires a 1 pole LP filter and a gate with sidechain inputs.
Do u need to have any tutorial plugged in or is all the softs on soft
Sorry, I don't understand the question?
Thanks man
holy shiiiit
Amazing