Subtractive EQ before compression, so the frequencies I don't want are brought up or the lows are screwing up the compression. Boosting EQ after compression to sweeten the signal.
Personally, I do both, depending on how it SOUNDS and which instrument it is applied on. Sometimes I'm much better off to tame the frequencies pushing the amplitude most with an equalizer if those are sonic spectrums I'm generally displeased with and have no way to change them in front of the microphone. Other times I have to get the levels evened out before I know what needs to be tweaked. Especially since low power and high power vocals have all kinds of different characteristics to tame. I sometimes have to go as far as separating those completely and give them different treatment. I hope I can fix that soon enough though, and be more satisfied with what comes in front of the microphone! I have to admit though, I started to use fewer instances multiband compression far more often instead of throwing several Compressiors and EQs in series, including to skip the de-esser myself and let an instance of the MBC handle it. That being said: I'm curios about the HOFA Equalizer plugin which is as surgical as an EQ but works off a threshold like a compressor. Do you have any experience with it?
My first plugin in every track is Eq, the second is a compressor, so If I have for example: 4 guitars, that on each one I already apply Eq and compressor individually, I send all of them to a “guitars Aux” were I put an Eq and a compressor to even them a bit, that works very well. Sometimes I send delay and reverb to the indibidual tracks, but most of the time the reverb and delay I send it to the “guitar Aux”. That “guitar Aux” I send it to a “premix 1 Aux” as well as other “Aux” like “keyboard Aux”, “strings Aux”, “brass Aux”, “wood Aux” etc. The Bass and drums go to a “premix 2 Aux” and vocals to a “premix 3 Aux” all of them already with Eq and compressor in the individual tracks and more processing in the Aux where they were send. Then the premix 1, 2 and 3 go to a “Pre-Master Mix aux” were I even everything a bit more. Then I send that to the main “Mix aux” were I do a bit of master compression to make everything tight and sweet. Why: because this give me a lot of control and the compressors don’t smash everything and take the life of the sound.
Simple answer: EQ out anything you know you don’t need, then compress, then EQ to color correct. Thanks for the video :) Greatest takeaway for me is putting in the de-esser earlier. Normally I do it toward the end 😅
I usually do the subtractive EQ/filtering first, so the compressor only reacts to the signal i want it to. Alternatively use the internal side chain filter which most compressor plugins has these days👍
This video really is such a huge revelation. This really makes sense of the relationship between frequencies, and dynamics. I feel like now when I EQ I will be much more aware, and strategic about what I do going into my compressor. I see it as the EQ sets the precedent of how the compression will end up sounding. Amazing video nobody else has explained this as well as you 👍
I use mainly Boz digital manic compressor exactly for this purpose. Since it have a side chain eq that you can use before compression it helps a lot when trying to make the compressor respond to a certain frequency range but the good thing is that side chain eq is not audible and does not eq your track at all...the only one listening for that eq changes is the compressor so you have plenty of freedom equing your track after compression again and not stuck to the tone you already dialed before compression.
I typically eq before anything. I am not a pro by no means, but it just makes since to me to take out all the unwanted frequencys before any effects are added. No point in applying effects to a frequency you don't want anyway. I actually think I learned that a long time ago on this same channel lol.
This Answer!... This!. Thank you for explaining stuff I have always done, because I was taught to do it this certain way , yet not exactly understanding why but doing as taught... I find it's comforting knowing that they steered me straight!. It's a bit different for me as my past is in live audio, and studio recording is a different beast, and mixing live VS recorded in the studio is a whole other world of new.
Warren, great video and I appreciate the discussion for demonstration purposes. My question is wouldn't multiband compression allow you to do everything in one go (like a C4)? Less compression in the lows, harder in the mids and independent attack and release times along with independent makeup gain per frequency band.
I apply the Mike Stavrou principles in this regard. Typically subtractive stuff before, and maybe pre-emphasis to setup specific frequencies that trigger the compressor. Post-compression, the notable feature is that there is a multiplication factor to any boosts and cuts, so use sparingly! Take a peep at "Mixing with Your Mind" by Mike Stavrou. Amazing "bible" for mix balance engineering, imho.
Wow, Warren you are practically a mind reader! I had this exact question last night - the order of compression and EQ in my in-the-box signal chain. What's more, I was specifically using REQ and RComp in my own mix as well. This video could not be more relevant and helpful! Thank you for the gift of information!
For the last 20 years I've done HPF, De-esser, comp, second HPF, EQ (if necessary), FX for everything except low end signals (bass, kick, floor tom, etc.). But I never thought of setting up two master buss tracks for mastering. Great idea - Thanks!
Thank you so much for this Warren. I've seen many people post videos on what they do, but they don't always explain WHY. That WHY makes a huge difference!
I EQ first, notches about 3 dB around 120, 250 Hz and another at 5 kHz. These 3 areas are always a bit too hot in my mix. This is a Livestream church audio I'm doing in Studio One 6 BTW. After the initial EQ, there's serial compression, and another broad brush Massive Passive EQ emulation. My effect sends have EQ (modified Abbey Road trick) then sidechain ducking compression too. My plug-ins: Melda - standard parametric EQ and freeform EQ, standard compressor Effects: MDelayMB, MReverbMB, MSaturatorMB, MDistortionMB, a Stereo widener Then the Pulsar Smasher parallel mixed in, the Pulsar Mu for glue compression, Pulsar Massive for final broad brush EQ Master bus gets the Melda UltraMaximizer and loudness metering
Excellent Warren! I pretty much always eq before compressing/limiting, except on the main buss, where I usually just tickle the compressor-if I instantiate one-and then eq. Juxtaposition: Bobby Owsinski always compresses and then eqs when doing a mix. He says that if you want to maintain or enhance the sound, compress before eq; if you want to alter the sound, eq first, then compress. What are your thoughts (or anyone elses here) on this? How about NO COMPRESSION? Everything doesn't always need to be compressed (or even eq'ed for that matter).
I have a simple approach. Light Compression I'll do after EQ if I am shaping. If I am compressing heavier, I'll do some shaping before compression and after compression correction for anything it may have squashed too much. It really depends on what you feel and hear. If I am mixing dialog, I have a chain of several EQ's, compressors coming before and after.
I Think my vocals sounded good EQ before compression I switched them around to find out but it was very hard to hear but was a bit clearer after switching back to EQ before. This is using Graphic EQ and Vintage VCA in LOGIC Pro x.
You explain things so eloquently, I find that after listening to your explanations I have a habit of putting them in my Notes ( yes, I take notes) and implementing them. You will never get the credit you deserve, You teaching a whole generation of mixers that will be better than ever. I wish that years ago, as I was reading my EQ mags and Home Recording that I knew what you just told us, it would have gone a long way with me. For this I raise my glass to you and tell you that my mixes are so much better because of your instruction!!! May you teach forever, I glean a universe of truth in your videos, and your the perfect post audio for media student ( that I am, at age 61, but thats a long story), LOL.
Fantastic, so much easier when you can see, and have your ears correlate the difference. The approach I first learned was to see the compressor to 3db of reduction and then start low cutting. Once it was obvious, back it off a tad.
If one needs a rule of thumb for this....for correctional cuts like hpf, lpf, cutting low mids -> eq pre comp. Because then your comp won't be reacting to things you don't want to hear anyway. For enhancement additive eq like hi shelf boosts -> eq post comp. Because boosting into a comp will cause it to turn down what you are boosting. Best solution is dynamic freq-dependant eq before your broadband comp. Waves C6 type into whatever comp. Chain that always works for me live and in the studio is hpf+lpf -> dynamic eq -> broadband comp -> enhancement additive eq.
Interesting as always, thanks. I use a highpass eq first, then a multiband compressor to avoid boosting unwanted low end indirectly with blanket compression, just the frequency areas desired.
First of all, Thanks for a really good explanation that everyone can understand Warren 😊 But i have a quick question Warren (Hope it's okay) What if it's a drum track you're working on. Do you approach it the same way you do with for example a vocal track, ie Eq, Comp, Eq, Comp and so on? 😊
I do about the same (subtractive EQ- comp- add EQ) with drums and other instruments, unless I'm feeling crazy and/or going for a certain sound. So yes, about the same process.
Thanks Warren, the way you presented the topic in this video about EQ after Comp cuts thru some of the confusing stuffs that needs to be cleared out in my mind. Great video.
This was very timely for me. I just used the filters on Waves Abbey Road TG Mastering Chain on the 2bus to not only bypass compression detection on the low end, but I pushed a bit of 2.3K into the detector to smooth out some accumulated harshness that I just couldn't quite drive out in the individual tracks. I'm trying to finish up my take on Mary Spender's "Someone Better" and get it posted to the PLAP academy to see how I'm doing. Thanks for all of the lessons! I have a long way to go, but I can hear things improving.
Subtractive EQ, then Compress, then additive EQ...unless you wanna go for a crazy sound like maybe a parallel track with additive eq then super compress and add in a little of that to the orginal sound! MIXING IS SO FUN LOL!
I use EQ before and after compression when needed. First I cut the mudders and the crudders > then compress - then add a bit of flavor or texture EQ to taste. Damn I love the Vocals the Singer is Throwing Down... Sweet energy and urgency with Her Singing On The Edge like that. Brilliant => Warren have a good day mate! Great video
question - how should we fine-tune the hipassing when the rumble is massive? we can dial in anything from 6db/oct to 72db/oct and we can put more than one instance in the chain. for instance should we set some 24-slope with 40Hz, and then a 6-slope with 100Hz?
Filters first always just for cleaning the annoying frequencies, then some dynamic using a gate . That's the cleaning section. Then, time to give some life and a space to the sound into the mix with some Eq and Comp.
I for sure want to keep this in the "watch later" file so I can find it again and again. This is extremely helpful for me to come back to and reference. Thank you very much Warren! Also several helpful comments are here, filling in some of the visuals. Grateful for this platform. Every day is Thanksgiving❣️
Thanks for all your videos. A lot of the time I either don't have the equipment you have or I am not at that level yet. This video was perfect for me. Thanks.
Warren, thank you so much for this (and all) your videos, I am much clearer about where and why you should apply EQ and compression. The examples you use to illustrate the point are so helpful to me, who at 55 is just getting into serious mixing. The De Esser trick is a new one to me, absolutely brilliant!
This was a very good reminder. I tend to forget this sometimes while trying to both write, record, produce and mix at the time. Another great video from Warren, and they just keep coming. Wonderful! Hugs from Sweden
On my guitar amp, I use a compression and a chorus pedal in front of the amp, and the EQ usually goes in the effects loop, so then I am doing it right, as far as I understand.
Most hits have the singer singing as high as she can..a bit higher Than comfortable...pushing. And this is infact one aspect of why it suceeds. It has been proven in a study:)
That sidechain HPF compressing trick is insane!!! I've been working on my new song lately, and the process of compressing the vocal lead me to tons of frustration. I intentionally recorded with a sort of pharyngeal voice, which actually sounds pretty awesome after the surgical EQ. Usually I'll do a HPF and and cut around 350hz, optionally cut some whistle sound in the high frequency before i put another boosting eq and tonal compressor. However, this time after I used my first eq and compressor to clean up the muddiness and do peak control, I put on my second compressor and it definitely sounded like shit. I've done the gain staging beforehand, and the volume balance is great to me. But somehow the second compressor not only didn't control the dynamics but also ruin the volume balance as well (Peak was higher with lower RMS). Before I watched this video, I have no idea of wtf was actually going wrong. Thank you Warren for helping me out!!!
I always forget how side-chaining works. Can you either point me to a video you've done or do a video on it or perhaps a segment in your FAQ Friday? Thanks.
Thanks Warren! I knew this already from your earlier video's, so I've taken over these things and it is awesome! Results are much better :). You're the best!
Hi Warren. I admire your energy for all that you do here, which is clearly beyond your day to day!! Wow. Anyway, with relevance to HPF on master compressing etc. Have you tried “The Glue” by Andy Simper (Cytomic)?? OMG.. it has had permanent residency on my master buss for about 10 years now. Just incredible.
Quick question - what other compressors out there have the sidechain hpf of the T-Racks compressor. Stuggling to find many to try out. Great video as always. Always learn something new when I watch. Nice one
I wish so badly you would have touched more on drum bus compression and bass compression with eq before or after, and the HPF on the compressor. I think I understand this, but it may take a few days for it to "sink in" haha!
Many thanks Warren,found your channel,it's really great explained everything.I have to check all your previous videos what you've posted. One more time many thanks for wonderful channel here,cheers!
Great video, thanks a lot Warren! What about parallel compression and EQ? Often I find myself squashing vocals on a parallel track and blending it into the original (or slightly compressed/EQed) track. Sometimes I feel like there's some weird phase thing going on when I EQ the parallel track before the compressor. But sometimes not! What is your thought and experience on that?
Question: when you use hi-pass sidechain on a compressor, do the low frequencies pass through completely uncompressed or do such low frequencies get compressed to the lesser extent the higher frequencies trigger the compressor?
You are working in a recording post-processing scenario with this question which makes me wonder why you didn't talk about multiband compressors. Even when thinking about multiband compressors, they are remarkably similar to a parametric EQ. That said, all an EQ is is a specialized multiband compressor/expander without a gate.
I'm confused. In your video "Mixing Vocals to Sit Properly in the Mix" you use sub eq then compression then boost eq then compression in the process. You said this helps make the sound overall well rounded where as boosting everything in one eq can do the opposite. Can you explain this in more details? Thanks.
I use sidechaining low frequencies a lot, but other than that, I admit, I never made a science out of it. To quote you: If it sounds good, it sounds good :). If I don't need the low lows, I think I highpass before compression.
Where might one place something like the waves Vocal Rider in this chain? I'm about to change up my go-to chain I have in my Cubase templates. Before it was De-Esser, Vocal Rider, CLA-2A (Compressor), Neutron 2 EQ. Pretty simple. But I liked what I heard in your examples. Do you even use a Vocal Rider? Thanks, loving your channel.
@@Producelikeapro apologies the video went to an advert and I stupidly assumed it was the end of the video before watching anything past high passing into compression. Having watched the full thing I now understand. Thanks for the help and keep up the marvellous work 👍
Great vid!!! Do u think u could do a video about tracking vocals with compression? U don't see a lot of vids out there on that. For now i just use the fastest attack and release to catch the peaks
I learned a lot from this video some new tricks of the trade and I also learned some of the things I have already been doing when it comes to eq and compression have been on point meaning similar to what other mixing engineer do when mixing 👍🏾
Do you use EQ before or after compression? Why?
Produce Like A Pro before, I don’t know
Subtractive EQ before compression, so the frequencies I don't want are brought up or the lows are screwing up the compression. Boosting EQ after compression to sweeten the signal.
mostly before compression. all the times i'll at least high pass and remove bad frequencies. boosting can be done later, but mostly i'll do it before.
Personally, I do both, depending on how it SOUNDS and which instrument it is applied on. Sometimes I'm much better off to tame the frequencies pushing the amplitude most with an equalizer if those are sonic spectrums I'm generally displeased with and have no way to change them in front of the microphone. Other times I have to get the levels evened out before I know what needs to be tweaked. Especially since low power and high power vocals have all kinds of different characteristics to tame. I sometimes have to go as far as separating those completely and give them different treatment. I hope I can fix that soon enough though, and be more satisfied with what comes in front of the microphone! I have to admit though, I started to use fewer instances multiband compression far more often instead of throwing several Compressiors and EQs in series, including to skip the de-esser myself and let an instance of the MBC handle it.
That being said: I'm curios about the HOFA Equalizer plugin which is as surgical as an EQ but works off a threshold like a compressor. Do you have any experience with it?
My first plugin in every track is Eq, the second is a compressor, so If I have for example: 4 guitars, that on each one I already apply Eq and compressor individually, I send all of them to a “guitars Aux” were I put an Eq and a compressor to even them a bit, that works very well.
Sometimes I send delay and reverb to the indibidual tracks, but most of the time the reverb and delay I send it to the “guitar Aux”. That “guitar Aux” I send it to a “premix 1 Aux” as well as other “Aux” like “keyboard Aux”, “strings Aux”, “brass Aux”, “wood Aux” etc. The Bass and drums go to a “premix 2 Aux” and vocals to a “premix 3 Aux” all of them already with Eq and compressor in the individual tracks and more processing in the Aux where they were send. Then the premix 1, 2 and 3 go to a “Pre-Master Mix aux” were I even everything a bit more. Then I send that to the main “Mix aux” were I do a bit of master compression to make everything tight and sweet.
Why:
because this give me a lot of control and the compressors don’t smash
everything and take the life of the sound.
Simple answer: EQ out anything you know you don’t need, then compress, then EQ to color correct. Thanks for the video :) Greatest takeaway for me is putting in the de-esser earlier. Normally I do it toward the end 😅
Same here!!
Same here
Fantastic! Thanks ever so much for sharing!
Try coloring out with a character eq like some pultec emulation
@@alcoustic5297 wonderful!
I usually do the subtractive EQ/filtering first, so the compressor only reacts to the signal i want it to. Alternatively use the internal side chain filter which most compressor plugins has these days👍
essentially the same as you do in this video 😂
@@evighvitveis haha thanks ever so much!! I really appreciate your comment!
This video really is such a huge revelation. This really makes sense of the relationship between frequencies, and dynamics. I feel like now when I EQ I will be much more aware, and strategic about what I do going into my compressor. I see it as the EQ sets the precedent of how the compression will end up sounding. Amazing video nobody else has explained this as well as you 👍
I use mainly Boz digital manic compressor exactly for this purpose. Since it have a side chain eq that you can use before compression it helps a lot when trying to make the compressor respond to a certain frequency range but the good thing is that side chain eq is not audible and does not eq your track at all...the only one listening for that eq changes is the compressor so you have plenty of freedom equing your track after compression again and not stuck to the tone you already dialed before compression.
I typically eq before anything. I am not a pro by no means, but it just makes since to me to take out all the unwanted frequencys before any effects are added. No point in applying effects to a frequency you don't want anyway. I actually think I learned that a long time ago on this same channel lol.
Thats a good point! Although i generally EQ after reverb so that the reverb isnt muddying up what i just cleaned with EQ
This Answer!... This!.
Thank you for explaining stuff I have always done, because I was taught to do it this certain way , yet not exactly understanding why but doing as taught... I find it's comforting knowing that they steered me straight!.
It's a bit different for me as my past is in live audio, and studio recording is a different beast, and mixing live VS recorded in the studio is a whole other world of new.
Thanks ever so much Seano!!
Warren, great video and I appreciate the discussion for demonstration purposes. My question is wouldn't multiband compression allow you to do everything in one go (like a C4)? Less compression in the lows, harder in the mids and independent attack and release times along with independent makeup gain per frequency band.
Basically I do what I've learnt from you :-) EQ and then COMP. Always good to repeat and repeat again those mixing basics. Thanks (again) Warren!
I apply the Mike Stavrou principles in this regard. Typically subtractive stuff before, and maybe pre-emphasis to setup specific frequencies that trigger the compressor. Post-compression, the notable feature is that there is a multiplication factor to any boosts and cuts, so use sparingly! Take a peep at "Mixing with Your Mind" by Mike Stavrou. Amazing "bible" for mix balance engineering, imho.
Wow, Warren you are practically a mind reader! I had this exact question last night - the order of compression and EQ in my in-the-box signal chain. What's more, I was specifically using REQ and RComp in my own mix as well. This video could not be more relevant and helpful! Thank you for the gift of information!
I think Warren is Psychic... tracked vocals on saturday with a female artist and Im in the mix doing this exact thing today and this vid shows up
Thanks ever so much Sam! So glad to be able to help in any way I can!
Hi@@Kineticartist aha! Great stuff! Glad to be able to help my friend!
I just looked at the chain for my radio show: EQ-reverb-Dsr-Comp. Not sure why I went verb there, but it is the slightest bit and it works.
Thanks ever so much for sharing!
I really like the mixing basic series. It's so easy to forget. And it's a long way to do it with that sought after aplomb. Thanks!
You Rock Jürgen! I'm so glad to be able to help! Have a marvellous time recording, many thanks Warren
For the last 20 years I've done HPF, De-esser, comp, second HPF, EQ (if necessary), FX for everything except low end signals (bass, kick, floor tom, etc.). But I never thought of setting up two master buss tracks for mastering. Great idea - Thanks!
Hi Dan Van Gorkom fantastic! Thanks ever so much fo sharing!
Thank you so much for this Warren. I've seen many people post videos on what they do, but they don't always explain WHY. That WHY makes a huge difference!
I EQ first, notches about 3 dB around 120, 250 Hz and another at 5 kHz. These 3 areas are always a bit too hot in my mix. This is a Livestream church audio I'm doing in Studio One 6 BTW.
After the initial EQ, there's serial compression, and another broad brush Massive Passive EQ emulation. My effect sends have EQ (modified Abbey Road trick) then sidechain ducking compression too.
My plug-ins:
Melda - standard parametric EQ and freeform EQ, standard compressor
Effects:
MDelayMB, MReverbMB, MSaturatorMB, MDistortionMB, a Stereo widener
Then the Pulsar Smasher parallel mixed in, the Pulsar Mu for glue compression, Pulsar Massive for final broad brush EQ
Master bus gets the Melda UltraMaximizer and loudness metering
This song kicks ass Been living under a rock...Thank you Warren Huart✊
Thanks ever so much!
I do both... I listen with my ears first and then decide where I need to use both. EQ into compression, then DeEss, then EQ, into an MV2 😎👍👍🇬🇮
Most of the time while tracking I EQ first then compress. While mixing I usually EQ > Comp > EQ again. Thanks Warren!
Thanks ever so much for sharing AJay! You Rock!
Excellent Warren! I pretty much always eq before compressing/limiting, except on the main buss, where I usually just tickle the compressor-if I instantiate one-and then eq.
Juxtaposition: Bobby Owsinski always compresses and then eqs when doing a mix. He says that if you want to maintain or enhance the sound, compress before eq; if you want to alter the sound, eq first, then compress. What are your thoughts (or anyone elses here) on this?
How about NO COMPRESSION? Everything doesn't always need to be compressed (or even eq'ed for that matter).
I have a simple approach. Light Compression I'll do after EQ if I am shaping. If I am compressing heavier, I'll do some shaping before compression and after compression correction for anything it may have squashed too much.
It really depends on what you feel and hear. If I am mixing dialog, I have a chain of several EQ's, compressors coming before and after.
Hi frankpaws thanks ever so much for sharing!!
Fantastic! I eq before compression because that's what I had read to do, but never really understood why. This video explained why, so thank you!
Thanks Steve for sharing your process!
I Think my vocals sounded good EQ before compression I switched them around to find out but it was very hard to hear but was a bit clearer after switching back to EQ before. This is using Graphic EQ and Vintage VCA in LOGIC Pro x.
Fantastic! Thanks for sharing. Yes, trying different methods to see what works best for you is great to do and teach us so much more
You explain things so eloquently, I find that after listening to your explanations I have a habit of putting them in my Notes ( yes, I take notes) and implementing them. You will never get the credit you deserve, You teaching a whole generation of mixers that will be better than ever. I wish that years ago, as I was reading my EQ mags and Home Recording that I knew what you just told us, it would have gone a long way with me. For this I raise my glass to you and tell you that my mixes are so much better because of your instruction!!! May you teach forever, I glean a universe of truth in your videos, and your the perfect post audio for media student ( that I am, at age 61, but thats a long story), LOL.
Finally! A solid case for eq b4 compression. Wonderful sir and all points taken especially de- essing early. Have a marvelous day😃😃
Hi steelwiz thanks ever so much! I’m so glad to be able to help! Have a marvellous time recording, many thanks Warren
Wow 🤩 Finally your tutorials are back! Thanks Warren.
Fantastic, so much easier when you can see, and have your ears correlate the difference. The approach I first learned was to see the compressor to 3db of reduction and then start low cutting. Once it was obvious, back it off a tad.
If one needs a rule of thumb for this....for correctional cuts like hpf, lpf, cutting low mids -> eq pre comp. Because then your comp won't be reacting to things you don't want to hear anyway. For enhancement additive eq like hi shelf boosts -> eq post comp. Because boosting into a comp will cause it to turn down what you are boosting. Best solution is dynamic freq-dependant eq before your broadband comp. Waves C6 type into whatever comp. Chain that always works for me live and in the studio is hpf+lpf -> dynamic eq -> broadband comp -> enhancement additive eq.
Interesting as always, thanks. I use a highpass eq first, then a multiband compressor to avoid boosting unwanted low end indirectly with blanket compression, just the frequency areas desired.
First of all, Thanks for a really good explanation that everyone can understand Warren 😊
But i have a quick question Warren (Hope it's okay)
What if it's a drum track you're working on. Do you approach it the same way you do with for example a vocal track, ie Eq, Comp, Eq, Comp and so on? 😊
I do about the same (subtractive EQ- comp- add EQ) with drums and other instruments, unless I'm feeling crazy and/or going for a certain sound. So yes, about the same process.
Thanks Warren, the way you presented the topic in this video about EQ after Comp cuts thru some of the confusing stuffs that needs to be cleared out in my mind. Great video.
What a great teacher - super helpful. Thanks so much.
This was very timely for me. I just used the filters on Waves Abbey Road TG Mastering Chain on the 2bus to not only bypass compression detection on the low end, but I pushed a bit of 2.3K into the detector to smooth out some accumulated harshness that I just couldn't quite drive out in the individual tracks. I'm trying to finish up my take on Mary Spender's "Someone Better" and get it posted to the PLAP academy to see how I'm doing. Thanks for all of the lessons! I have a long way to go, but I can hear things improving.
That was one of the best explanations and examples I have ever heard and seen on this subject. Thank you
Wow! Thanks ever so much Chaz! That really means a lot my friend!
Subtractive EQ, then Compress, then additive EQ...unless you wanna go for a crazy sound like maybe a parallel track with additive eq then super compress and add in a little of that to the orginal sound! MIXING IS SO FUN LOL!
I use EQ before and after compression when needed. First I cut the mudders and the crudders > then compress - then add a bit of flavor or texture EQ to taste. Damn I love the Vocals the Singer is Throwing Down... Sweet energy and urgency with Her Singing On The Edge like that. Brilliant => Warren have a good day mate! Great video
Thanks ever so much Justin! I really appreciate hearing your experiences and insight!
P.S, yes Kaedyn is a wonderful singer! She was only 13 or 14 when she sang this!
question - how should we fine-tune the hipassing when the rumble is massive?
we can dial in anything from 6db/oct to 72db/oct and we can put more than one instance in the chain.
for instance should we set some 24-slope with 40Hz, and then a 6-slope with 100Hz?
Filters first always just for cleaning the annoying frequencies, then some dynamic using a gate . That's the cleaning section. Then, time to give some life and a space to the sound into the mix with some Eq and Comp.
I for sure want to keep this in the "watch later" file so I can find it again and again. This is extremely helpful for me to come back to and reference. Thank you very much Warren! Also several helpful comments are here, filling in some of the visuals. Grateful for this platform. Every day is Thanksgiving❣️
Thanks for all your videos. A lot of the time I either don't have the equipment you have
or I am not at that level yet. This video was perfect for me. Thanks.
Warren, thank you so much for this (and all) your videos, I am much clearer about where and why you should apply EQ and compression. The examples you use to illustrate the point are so helpful to me, who at 55 is just getting into serious mixing. The De Esser trick is a new one to me, absolutely brilliant!
This a Gem thanks much appreciated
Thanks ever so much my friend!
This was a very good reminder. I tend to forget this sometimes while trying to both write, record, produce and mix at the time. Another great video from Warren, and they just keep coming. Wonderful!
Hugs from Sweden
Yeah, THAT'S Warren working! You go! A great lecture... AND MY EARS AGREE!
Thanks ever so much Brian! I'm glad to be able to help!
Warren, this is a great recap of the dynamics (pun both intended and not) of the relationship between EQ and compression. Such great tips!
Dave Merkel thans ever so much my friend!!
Fabulous!! I’m currently mixing White Noise town and was actually applying these tips this morning, they’re great Warren!
Hi matty6strings thanks ever so much my friend! I’m glad to be able to help!
This is one of the most helpful mixing videos I've watched. De-esser first was super insightful. Thanks for this and your other videos!
On my guitar amp, I use a compression and a chorus pedal in front of the amp, and the EQ usually goes in the effects loop, so then I am doing it right, as far as I understand.
You've got it sir, the answer is: it depends.
Thanks for the reminiscence, BTW. I haven't seen those Renaissance plugs since the Cherry Sound days.
Most hits have the singer singing as high as she can..a bit higher Than comfortable...pushing. And this is infact one aspect of why it suceeds.
It has been proven in a study:)
Great stuff! The best way to "save" a mix of the big amounts of low end!
Fantastic wisdom....I was making a de-essing mistake....thanks!
You’re very welcome
Really appreciative of the lesson and information here man! Helpful advice from an engineering maestro like yourself!
You're very kind to say that!
@@Producelikeapro Why thank you man! You are very welcome!
@@RC32Smiths01 always great to read your comments!
@@Producelikeapro it's always a blast to tune in!
That sidechain HPF compressing trick is insane!!!
I've been working on my new song lately, and the process of compressing the vocal lead me to tons of frustration. I intentionally recorded with a sort of pharyngeal voice, which actually sounds pretty awesome after the surgical EQ. Usually I'll do a HPF and and cut around 350hz, optionally cut some whistle sound in the high frequency before i put another boosting eq and tonal compressor.
However, this time after I used my first eq and compressor to clean up the muddiness and do peak control, I put on my second compressor and it definitely sounded like shit.
I've done the gain staging beforehand, and the volume balance is great to me. But somehow the second compressor not only didn't control the dynamics but also ruin the volume balance as well (Peak was higher with lower RMS). Before I watched this video, I have no idea of wtf was actually going wrong. Thank you Warren for helping me out!!!
Your technique is great.
Have you done a video on the affects of EQ and Compression on each of the various types of Instruments in a Pop Mix?
This is by far the best video on this topic. Thank you!!
Wow! Thanks ever so much
I always forget how side-chaining works. Can you either point me to a video you've done or do a video on it or perhaps a segment in your FAQ Friday? Thanks.
Thanks Warren! I knew this already from your earlier video's, so I've taken over these things and it is awesome! Results are much better :). You're the best!
Thanks ever so much Martin! I really appreciate it!
So much wonderful information!
Thanks ever so much Darlene!
Hi Warren. I admire your energy for all that you do here, which is clearly beyond your day to day!! Wow.
Anyway, with relevance to HPF on master compressing etc. Have you tried “The Glue” by Andy Simper (Cytomic)?? OMG.. it has had permanent residency on my master buss for about 10 years now. Just incredible.
my approach is more philosophical than based on experience. I try to make the signal sound good prior to compression or gain staging.
Sounds perfect to me!!
WoW, fantastic explanation! Gee Warren, I keep getting better mixes the more of your videos I watch. Love it!!
Looking forward to the episode on dynamic compressors and their application! Thanks for the knowledge :)
Yes! That's a marvellous idea!!
@@Producelikeapro ..and who knows..maybe a bit on Expansion.
Thank you man. This was so brilliant!!! ♥️
Thanks ever so much
Extremely insightful.
(But the one but last sample, without delay/reverb, felt freshest to me.)
Quick question - what other compressors out there have the sidechain hpf of the T-Racks compressor. Stuggling to find many to try out. Great video as always. Always learn something new when I watch. Nice one
Thanks ever so much! Most new plug ins incorporate a side chain function these days
You're the best man. Thank you for this!
Thanks ever so much!
Thanks again for another insightful and yet now seemingly obvious vid! Keep 'em coming, nice1!
Thanks Warren, this vlog has been a most useful lesson for me. Tell me please...What’s the story behind the cricket ball?
I wish so badly you would have touched more on drum bus compression and bass compression with eq before or after, and the HPF on the compressor. I think I understand this, but it may take a few days for it to "sink in" haha!
Many thanks Warren,found your channel,it's really great explained everything.I have to check all your previous videos what you've posted. One more time many thanks for wonderful channel here,cheers!
Great video, thanks a lot Warren!
What about parallel compression and EQ? Often I find myself squashing vocals on a parallel track and blending it into the original (or slightly compressed/EQed) track. Sometimes I feel like there's some weird phase thing going on when I EQ the parallel track before the compressor. But sometimes not! What is your thought and experience on that?
Good stuff as always, Warren. I always benefit from reminders like these as well as learn some new ideas sometimes. Thanks a schnizle-ton.
Thanks ever so much Jed! Always great to read your comments, however old!
Question: when you use hi-pass sidechain on a compressor, do the low frequencies pass through completely uncompressed or do such low frequencies get compressed to the lesser extent the higher frequencies trigger the compressor?
They pass through uncompressed,.The compressor will ignore them
All the spectre is compressed but triggered by a signal which has a hi-pass on it. So all the signal will be less sensitive to the low frequencies x)
Great Video, I like when you explain that the bass comes up after each compressing cyclus
Thanks Warren, and have a blessed holiday
Hi Montgomery Haines thanks ever so much my friend!
You are working in a recording post-processing scenario with this question which makes me wonder why you didn't talk about multiband compressors. Even when thinking about multiband compressors, they are remarkably similar to a parametric EQ. That said, all an EQ is is a specialized multiband compressor/expander without a gate.
Best explanation on this. Fantastic. Thanks Warren.
Thanks ever so much Al! I'm so glad to be able to help!
This is not a rule by any means but I generally do subtractive EQ earlier in the chain before the compressor and additive after (if at all).
Great video as always Warren.
Many thanks!
Thanks ever so much!
@@Producelikeapro Thanks to you. Best
Tô bem vert honest with you I don't think I EVER thought about that, I just hear the track and go for the one that makes sense to me
If i need to compress just lows, or just highs, i use multiband or internal sidechain
Hi FR0ZEN great stuff! Thanks ever so much for sharing!
@@Producelikeapro thank you, man.
Once again wonderful video Warren!
one of your best videos warren ,very good and useful information you help us hobby mixers a lot,great
Thanks ever so much my friend!!
Great video Warren,Thank you!
Thanks ever so much Michael!
I'm confused. In your video "Mixing Vocals to Sit Properly in the Mix" you use sub eq then compression then boost eq then compression in the process. You said this helps make the sound overall well rounded where as boosting everything in one eq can do the opposite. Can you explain this in more details? Thanks.
I use sidechaining low frequencies a lot, but other than that, I admit, I never made a science out of it. To quote you: If it sounds good, it sounds good :).
If I don't need the low lows, I think I highpass before compression.
Where might one place something like the waves Vocal Rider in this chain? I'm about to change up my go-to chain I have in my Cubase templates. Before it was De-Esser, Vocal Rider, CLA-2A (Compressor), Neutron 2 EQ. Pretty simple. But I liked what I heard in your examples. Do you even use a Vocal Rider? Thanks, loving your channel.
Vocal rider is a staple in my mixes. I use it first on my chain and after it an 1176 to catch the peaks.
El Ruso yes that’s how I use it too, but I’m wondering where it would go in the demonstrated chain. Before or after the initial low cut eq?
Just want to say THANK YOU VERY MUCH for these tutorials , you have helped me immensely over the last few years.
Brilliant, these discussions really help me in the learning process. Thanks a million. :)
You Rock David! I'm so glad to be able to help! Have a marvellous time recording and mixing my friend, many thanks Warren!
What is the principle behind CLAs method of using EQ boost into compression?
Hi Ben Davies we are showing the EQ boost into compression here!
@@Producelikeapro apologies the video went to an advert and I stupidly assumed it was the end of the video before watching anything past high passing into compression. Having watched the full thing I now understand. Thanks for the help and keep up the marvellous work 👍
This is very relevant for me as I am trying to improve my mixing skills. Thank you!
Great vid!!! Do u think u could do a video about tracking vocals with compression? U don't see a lot of vids out there on that. For now i just use the fastest attack and release to catch the peaks
That's a marvellous idea! Thanks for suggesting!
@@Producelikeapro hope to see it soon!
Hi Eric Gray wonderful
I learned a lot from this video some new tricks of the trade and I also learned some of the things I have already been doing when it comes to eq and compression have been on point meaning similar to what other mixing engineer do when mixing 👍🏾
thank you very much for sharing your knowledge to us your video helps a lot
Hi a lot ADHD ,,,,, sketch with drawings in the program, most of what you express is just clear in your head ,, thanks in advance
Thank you for this video. It will help me develop further. Thanks!
Thanks ever so much Ivan! You Rock!!
Great Vid! Thanks! going to the dynamic video right now!
Great lesson Warren, thank you!
Thanks ever so much!!
Awesome tips! Thanks Warren!
burgerguitars thanks ever so much my friend!