Since I'm still a beginner, I like the limits of using a Neve or Pultec with fixed/set frequencies. I think having limits helps me better understand eq rather than endless choices on other eq plugins. I suffer from decision anxiety. Having fewer choices really helps me keep moving through a mix. The frequencies that are fixed are also very musical so I am less likely to pick an ugly frequency.
Thanks for another excellent video! I am learning alot from you ♥ I mostly mix my own productions, which is electronic music, but I get pretty good results with Filk Channel by Kiive Audio, also on drums.
Just amazing. I found you very recently and really by chance. I still can't get over my amazement at the extreme generosity and absolute quality with which you impart fundamental, precise, accurate and necessary knowledge. I send you my deep appreciation and gratitude for this work that you carry out and my warmest regard from Argentina.
Good stuff! Thanks! Love your approach. And you’re always working on great tracks…. Actual musicians…. Playing actual music…. Well….what a concept! That’s a very cool band and very well tracked!
Wow, you've made some real improvements to the bass, among them bringing out some frequencies that were difficult to hear or even recognize were present in that original track. In a video of Scott Devine's where he was explaining how he provided bass tracks to producers, he said he'd provide one track with his full settings along with another just from his bass through a DI. These are recorded simultaneously, so the producer can work from the raw, unaltered track if they want something quite different from what Scott otherwise provided, or just wanted the DI to blend in with Scott's other track. Thinking of that made me wonder: if you'd had the benefit of a raw bass track, might that have simplified your work here? Could it have left more options, especially in the higher frequencies that seem to be quite rolled off in the original? Thank you for showing your work flow and thought processes here; I've picked up one or two ideas to work with in my own live bass playing.
Whilst the method should be obvious if you know enough, it's only seeing it put together in such a clear and informative way like this is how I got the light bulb moment. I was part way there using the method front the kick and snare videos but the specifcs have unlocked not just a great bass tone but in 2 days I have also gotten 3 lovely clear mixes just by working the bass properly. The time saving for me from this series of videos has been enormous. The bass one has genuinely been a game changer because of this whole mix impact it has had. Thank you.
Watching your Videos feels like sitting by a therapist and listening to her precious words just about to get the basics right ! Thanks and respect for the amazing job you're doing ❤
Just gotta say thanks, for this series on EQing, for the life of me i couldn't get the bass under control, i use Isotope Tonal Balance , and it was off the scale, i was using some wild EQ curves to try to balance out the.mix, now it slots right in the zone, with no EQing on the mix buss. If you can? keep doing these long form tutorials. You're a diamond in the rough, that is youtube sound engineering tutorials 🤘
Thanks a lot. It took me years to come to more or less the same conclusions. I've found that the 250-ish cut is the most fundamental EQ-ing step, necessary for all genres of music. The rest depend on the style of music and bass guitars utilized but more often than not they are what you have portrayed here.
HF Sheen = Switches to a wider Bandwidth characteristic for the HF shelf or peak filter that alter the curve from the standard steep to more broad, gentle slopes. LF Glow = Switches to a wider Bandwidth characteristic for the LF shelf or peak filter that alter the curve from the standard steep to more broad, gentle slopes. A bit of "ear-tricking" while on 0 dB there I suppose ;)
Absolutely inspiring video, well articulated and to the point. This will undoubtedly help me manage the low end of my mixes, which I always find difficult. Thank you so much !
Thanks for the vid what I got out of it was the freq bands. The high pass at the end is for me the holy grail of bass, it allows the harmonics on the top to shine giving it a more of a slap feel, even without carving and yes my band is around 40-60 Hz. Also I love mucking about with adding distortion or re-amping a DI because why not hehe
super helpful/educational/usable as always. Love how you bring out the woody character, the expressiveness of the bass in the hi mids. This sounds like a fender bass with flats - very different from say a Stingray with roundwounds. The type of bass I think really informs the EQ decisions required - but it's also about the ears and fine-tuning what's there.
Great lesson Sara. Really appreciate your approach and style. Thank you so much. Bass is the easiest instrument for me to play of course naturally the hardest for me to mix :). I learn so much from you in there videos, please keep them coming :) ... and Pro Q 3 is my go to EQ. I find the vusual analyser super helpful.
You titled "hear bass". And that's exactly what I've got! Going to excercise on a mix now, feeling more confident about what to listen for and how to make good decicions. Excellent tutorial!! Thanks a lot 🙏
Brilliant vid Sara, I am working on a mix of a cover of Peace Love and Understanding right now and you’ve just given me the tools I need to pull the articulation of the bass part out. Thanks so much! BTW I’ve previously purchased your mixing course on Produce Like a Pro and I’d recommend it to everyone reading these comments. Cheers!
I like to first put a high cut filter to remove any wooliness and unpleasant higher frequencies. Then I do a low cut filter to remove low end rumble then sweep the low and midrange for anything I don’t like. Any cuts are usually only a couple of decibels. It’s amazing how much of the high frequencies you can cut out that don’t contribute to a good sound. I then put a compressor over the track and tend to use the focusrite red compressor for this.
YES! I love that you take the time to show all the steps in the process of deciding what to boost and cut. So when I'm hearing the final result, I can actually understand the changes. Definitely entertained and enlightened 🤗 Thanks a bunch
I'm so glad I came across your channel. Your tutorials are superb. Straight forward and concise. Thank you for your contribution to the mixing community.
Loved this video! One thing I wanted to mention was the Ad Break bumpers. Folks who have Premium won’t see any ads and those who don’t are used to jump cut ads. Just something to consider for the ad-free folks.
I just wanted to say thank you. This works 💪. This is a professional way to approach everything. Each input is different but the idea and the execution is the best.
Fantastic stuff like always, thanks Sara! Can I suggest a topic for a future video, I'd love to hear your thoughts on the mixing/mastering terminology and possibly going trough those with examples, like: - the low end being "tight" - more "open" top end - "rounder" bass or kick (or sometimes even cymbals or hihats) - better "separation" between of elements in the mix - sometimes a mix lacks "depth" - something lacks "fullness", usually low end but sometimes mids or even top end - etc. Thanks! 🙂
This is INCREDIBLE. I'm a bass player, and I'm going to try to apply some of your techniques here to my live bass sound. But I have a request. I also mix sound for my band. And my #1 struggle is EQ for vocals. Like ... need a male vocal example and a female vocal example. I know I can't just copy your settings. It's more about the frequency bands that you target and the process of listening and adjusting. Pretty please? it's all about the vocals.
Great video. I was actually surprised that you cut the low mids as always thought that those were the frequencies that made the bass cut through, but what you did definitely worked
As an accomplished bassist, but novice sound engineer, I just use a 10 band EQ pedal and pump up the volume and mids to cut through when I need to, or when doing something with less attack like tapping, I use this to get volume and presence in the live mix. I also have low action and use the percussive sound of the strings slapping the fretboard, as well as playing through 10 in speakers, that give3 a lot of attack that compliments the bass drum.
In the original Amek 9098i consoles, I've read that "Sheen" and "Glow" make the curves of the HF and LF filters respectively more gentle. I couldn't find how those slopes changed, whether from 12dB to 6dB per octave or something different. I also wonder whether there's more to these in the original consoles or in the plugin implementation, as I shouldn't think there'd otherwise be an audible difference with the gain at 0dB It would be nice if console manufacturers labeled these things with plain descriptions rather than marketing terms, and I do wonder if in this case the names were a Rupert Neve influence. He was instrumental in designing that console, and the naming of those buttons does put me in mind of the naming of his "Silk" and "Satin" circuits.
Very very productive! Thank you. I do have a recommendation, suggestion. One can get a colour highlighter app that colours the mouse arrow pointer that moves around the screen. One can get it to colour in whatever colour you want. This is usually like a paint splotch around the pointer so it's a 'area (round)'. This would make following your actions around the screen very much easier for the watcher whom, like me, a glued to their screen to see what you do.
Sara, I am curious do you have a cheat sheet on all the EQ starting points to cut and boost for all instruments? I really love your videos. They are well worth it!! I appreciate you very much!!
Thanks Sara, I'm really enjoying this EQ series. Do you think fattening up the bass means you'll need to go back to do something to help the kick drum to poke through in the mix ?
Both are fattened up using different frequencies to each other and both have different focus frequencies to facilitate their separation in a mix. The 60hz low cut on the bass for example allows for the fatness of the kick to come through. It all depends on the recording as to the best frequencies to ultimately choose. Great question!
getting so much from this series of EQ videos. I assume you can use these same techniques for synth bass too. aslo would then go on to use a saturation plug in in some instances. thanks so much for these videos
Well... It sounds like shaping this bass sound from the start! I think that bass player used unappropriate instrument/tone settings or there's something with this bass track. I can't remember when I have to make so much eq tweaking with basses in my mixing session.
I’ve just discovered this channel, very well done. Interesting content and excellent production. The charming accent is a bonus. For this bass EQ episode I found myself wondering if the demo track was a mic recording of an amp, or was it a DI bass. And what EQ tips very for mic vs DI.
Thank you very much! I always use an amp sim on a DI if it's the only supplied track, and if a DI and mic are provided I get a blend and would do this on the combined bass bus.
Thank you for this video! I tend to use the same frequencies... But just a tiny bit lower! Boost around 800hz or 4k depending if the bass is chill or very melodic, boost around 80hz, cut around 160hz and filtering around 50hz. I also usually filter the highs, between 50k and 10k, once again depending on the mood of the song. I find it makes the bass sits better in the mix, but maybe it's harming compatibility with less capable monitors... Do you think the instrument and strings and technique can change these frequencies we're looking at?
Hey Sara. Love this series. Do you have a rule of thumb for makeup gain? I noticed you're getting 6-10dB of GR but only doing like 3-4 dB or so of makeup gain. My instinct would probably be to go higher, but I'm still figuring out some of these finer points, so I'm curious how you hear/think about this particular aspect of compression/gain-staging.
I usually try to keep it balanced, mostly for auditioning purposes but sometimes the make up gain is a handy pot to lift the level pre-fader, convenience wins
Hey Sara... Have quite a bit of an unorthodox thought process related query here :} What Frequency area {LOW/MID/HIGH Range} would you START EQing first in the range & whats the thought process behind that for you ? .. {Eg: First starting in the MID Range area which has the tonal transient part of a signal & then moving towards the upper region / lower region ?}. I see you start from the MID Range which is a really smart way of STARING EQing. After getting that MID Range right - which direction would you recommend working towards first ? Towards HIGH or LOW. :} On a side note... Well.. Marc Daniel Nelson says :} to get the Mids & the Highs balanced first & to move towards the LOWs last since the LOWs "could" get masked by the excessive Highs if we approach the other way around. .. Adore your teachings as always.. & anticipate to "Hear your Thought Process".... Much Love, Rezi.. :}
Hi Rezi, that's such a good question and I wish I had a great answer! I tend to go where the most need it first. If it had tons of overblown lows at 100Hz, then I'd probably tackle that first. MDN has a good point though, do what he says haha!
@@SaraCarterSimplyMixing Thanks a ton for taking time to reply Sara...🤓 Well for sure nor MDN or you could go wrong ! 😎👍 Badly expect you'd extend this series with Eqing Electric + Acoustic guitars + Acoustic Piano as well..🤓 Well the Drum n Bass are cooking well now... Why not tackle the rest! Blessings your way as always..Cheers..Rezi 🥇
This bass part operates in quite a wide register, so wouldn't an opto be better given freq-dependent GR? Also, idk how contextual the mix decisions can be when the bass track is boosted for the vid, bc I find masking is greatly affected by small amplitude adjustments.
Really enjoyed this thanks. Is the advice genre dependent at all? I'm mixing disco and the advice I've had is that a lot of the important stuff for that genre is in the 90-300 range, low mids essentially. Which seems to be the main place you are cutting/taking presence away? Thanks
For bass driven genres like disco, reggae and funk you would certainly be careful in the amount of cut or boost applied in that area, if it needs it at all! Depends on the recording, tracks etc, I know that doesn't help haha.
Hi Sara, it’s always a joy to see your videos’s😄they are always so helpful and informative. I hope you don’t mind me mentioning but not sure if it is just me but am getting a lot of sibilance coming through on your voice. Purely constructive feedback so please receive it in this way, as I think your videos are amazing!!Best wishes
I learnt years ago that touching the speaker damping ring gently with 2 finger tips can be really useful in understanding what the kick and bass are doing. Gregory at Kush Audio explains this here: ruclips.net/video/4swJJebHQjc/видео.html Hope this helps
Love get to the point quickly please. You spent 41 minutes trying to explain and show how to do this when you could have done it in five minutes love. If you cut out most of your explaining and just show on the plugin VSTs what to do I promise you Sara you will get a lot more subscribers. Just imagine that your viewers only have a few minutes before catching a train and if you delay what the title of your videos are about, your viewers will miss their train and will have to wait for the following day's train.
I'm trying to teach hearing EQ and decision making for beginners in this series but you can jump to the summary at @38:56 for just the frequencies without the method.
What's your favourite plugin for EQing bass?
SPL Vitalizer MK2-T. It's a strange unmasking EQ. I haven't fully got my head around what it does, but it can get some great results...
Since I'm still a beginner, I like the limits of using a Neve or Pultec with fixed/set frequencies. I think having limits helps me better understand eq rather than endless choices on other eq plugins.
I suffer from decision anxiety. Having fewer choices really helps me keep moving through a mix. The frequencies that are fixed are also very musical so I am less likely to pick an ugly frequency.
@@mikewaldron4492 interesting!
@@KarenBasset Yes, channel strips are brilliant for that!
Thanks for another excellent video! I am learning alot from you ♥
I mostly mix my own productions, which is electronic music, but I get pretty good results with Filk Channel by Kiive Audio, also on drums.
Just amazing. I found you very recently and really by chance. I still can't get over my amazement at the extreme generosity and absolute quality with which you impart fundamental, precise, accurate and necessary knowledge. I send you my deep appreciation and gratitude for this work that you carry out and my warmest regard from Argentina.
Wow, thank you!
Good stuff! Thanks! Love your approach. And you’re always working on great tracks…. Actual musicians…. Playing actual music…. Well….what a concept! That’s a very cool band and very well tracked!
This is absolutely incredible. I don't know how I found this channel but I'm glad I did. This is such a concise overview. Thank you
Wow! Thanks for watching 😁
These EQ videos are FIRE!!!! Learning a lot from them!!!!! Thank You Sara!!!!
You're so welcome!
Wow, you've made some real improvements to the bass, among them bringing out some frequencies that were difficult to hear or even recognize were present in that original track.
In a video of Scott Devine's where he was explaining how he provided bass tracks to producers, he said he'd provide one track with his full settings along with another just from his bass through a DI. These are recorded simultaneously, so the producer can work from the raw, unaltered track if they want something quite different from what Scott otherwise provided, or just wanted the DI to blend in with Scott's other track. Thinking of that made me wonder: if you'd had the benefit of a raw bass track, might that have simplified your work here? Could it have left more options, especially in the higher frequencies that seem to be quite rolled off in the original?
Thank you for showing your work flow and thought processes here; I've picked up one or two ideas to work with in my own live bass playing.
Whilst the method should be obvious if you know enough, it's only seeing it put together in such a clear and informative way like this is how I got the light bulb moment. I was part way there using the method front the kick and snare videos but the specifcs have unlocked not just a great bass tone but in 2 days I have also gotten 3 lovely clear mixes just by working the bass properly. The time saving for me from this series of videos has been enormous. The bass one has genuinely been a game changer because of this whole mix impact it has had. Thank you.
Wow! That's amazing! I'm so pleased it clicked for you
Watching your Videos feels like sitting by a therapist and listening to her precious words just about to get the basics right ! Thanks and respect for the amazing job you're doing ❤
Wow, thank you!
Just gotta say thanks, for this series on EQing, for the life of me i couldn't get the bass under control, i use Isotope Tonal Balance , and it was off the scale, i was using some wild EQ curves to try to balance out the.mix, now it slots right in the zone, with no EQing on the mix buss. If you can? keep doing these long form tutorials. You're a diamond in the rough, that is youtube sound engineering tutorials 🤘
That's brilliant! Glad it helped you
Just want to agree with everyone about how good this series is. I’ve watched the Kick, Snare and now Bass videos and they are great! On to Guitar!!!
Glad you are enjoying it!
Thanks a lot. It took me years to come to more or less the same conclusions. I've found that the 250-ish cut is the most fundamental EQ-ing step, necessary for all genres of music. The rest depend on the style of music and bass guitars utilized but more often than not they are what you have portrayed here.
Thanks. I always keep overlooking this band, and wondering why the bass sounds wonkey, now its committed to memory
HF Sheen = Switches to a wider Bandwidth characteristic for the HF shelf or peak filter that alter the curve from the standard steep to more broad, gentle slopes.
LF Glow = Switches to a wider Bandwidth characteristic for the LF shelf or peak filter that alter the curve from the standard steep to more broad, gentle slopes.
A bit of "ear-tricking" while on 0 dB there I suppose ;)
Thanks for that!
Absolutely inspiring video, well articulated and to the point. This will undoubtedly help me manage the low end of my mixes, which I always find difficult. Thank you so much !
Glad it was helpful!
Thanks for the vid what I got out of it was the freq bands. The high pass at the end is for me the holy grail of bass, it allows the harmonics on the top to shine giving it a more of a slap feel, even without carving and yes my band is around 40-60 Hz. Also I love mucking about with adding distortion or re-amping a DI because why not hehe
super helpful/educational/usable as always. Love how you bring out the woody character, the expressiveness of the bass in the hi mids. This sounds like a fender bass with flats - very different from say a Stingray with roundwounds. The type of bass I think really informs the EQ decisions required - but it's also about the ears and fine-tuning what's there.
Yes, agreed and a clue to not over egg the high's
Great lesson Sara. Really appreciate your approach and style. Thank you so much. Bass is the easiest instrument for me to play of course naturally the hardest for me to mix :). I learn so much from you in there videos, please keep them coming :)
... and Pro Q 3 is my go to EQ. I find the vusual analyser super helpful.
You're very welcome!
Exciting another lesson from a pro. Thank you!!!
My pleasure!
You titled "hear bass". And that's exactly what I've got! Going to excercise on a mix now, feeling more confident about what to listen for and how to make good decicions. Excellent tutorial!! Thanks a lot 🙏
Brilliant!
This is it !! You saved my life....😃 I take a deep bow to your ability to explain things the way you do....
Glad I could help!
Brilliant vid Sara, I am working on a mix of a cover of Peace Love and Understanding right now and you’ve just given me the tools I need to pull the articulation of the bass part out. Thanks so much! BTW I’ve previously purchased your mixing course on Produce Like a Pro and I’d recommend it to everyone reading these comments. Cheers!
Thank you! Glad to have helped
Very useful and clear. I also enjoy your accent. I am Danish but back in the 90's I lived in Yorkshire for a while.
Thank you! 😃
I like to first put a high cut filter to remove any wooliness and unpleasant higher frequencies. Then I do a low cut filter to remove low end rumble then sweep the low and midrange for anything I don’t like. Any cuts are usually only a couple of decibels. It’s amazing how much of the high frequencies you can cut out that don’t contribute to a good sound. I then put a compressor over the track and tend to use the focusrite red compressor for this.
Thanks for sharing!
Boils down to the Mid Range magic theory..But in ways that suites a Kick for sure... Lovely explanation pal...😎👍🥇
@@SaraCarterSimplyMixing 👍👍👍
This is such a superb, detailed explanation on how to treat the bass! Thank You so much, Sara! Will definitely try out your method. Very impressed!
Glad it was helpful!
I didn't knew that MI6 from James Bond was making mixing tutorials . Awesome!😄
Haha!
Thank you for helping my therapeutic music 🎶 📻🍿
Thanks for watching
Hi Sara..... Atsonishingly too good to be free !!! Thanks heaps for these lovely series of eye openers 🤓👍👍👍🥇 You are the best!!!
You are so welcome!
YES! I love that you take the time to show all the steps in the process of deciding what to boost and cut. So when I'm hearing the final result, I can actually understand the changes.
Definitely entertained and enlightened 🤗 Thanks a bunch
You are so welcome!
I'm so glad I came across your channel. Your tutorials are superb. Straight forward and concise. Thank you for your contribution to the mixing community.
Thanks for watching!
Perfect mixing education content, ma'am. The way of thinking is clearly exposed and repeated to strengthen. Brilliant! And your English is so true. :)
Thanks a lot 😊
Home hobbyist and FOH dude here. This series has been great! I had to share it with my fb group.
Awesome, thank you!
Another amazing tutorial. Thanks, Sara!
Glad it was helpful!
Loved this video! One thing I wanted to mention was the Ad Break bumpers. Folks who have Premium won’t see any ads and those who don’t are used to jump cut ads. Just something to consider for the ad-free folks.
Yes, I wondered about that and I was thinking of shortening them a bit
I just wanted to say thank you. This works 💪. This is a professional way to approach everything. Each input is different but the idea and the execution is the best.
Thank you so much, I’m so pleased to have helped you!
Finally a beginner mixing video doing 15dB eq moves :D thank you, this was awesome :)
Glad you liked it!
lovely. love how you musically detail the frequency ranges.
Thanks!
you are a genious! i just discover you channel and i really love your approach
Thanks and welcome
wonderful sounding bass! Bookmarked for reference.
Great, glad to help!
brilliant, Plus just listening to you is delightful!!
Haha! Thank you 😊
Fantastic stuff like always, thanks Sara!
Can I suggest a topic for a future video, I'd love to hear your thoughts on the mixing/mastering terminology and possibly going trough those with examples, like:
- the low end being "tight"
- more "open" top end
- "rounder" bass or kick (or sometimes even cymbals or hihats)
- better "separation" between of elements in the mix
- sometimes a mix lacks "depth"
- something lacks "fullness", usually low end but sometimes mids or even top end
- etc.
Thanks! 🙂
Great suggestion! Thanks for that
Best video about bassline. Thank you.❤❤❤
Thank you!
Very nice job & explanation of the process!
Thank you!
Thank you Sara. This was an excellent lesson. Thank you for your generosity of time and information.
You are so welcome!
This is INCREDIBLE. I'm a bass player, and I'm going to try to apply some of your techniques here to my live bass sound. But I have a request. I also mix sound for my band. And my #1 struggle is EQ for vocals. Like ... need a male vocal example and a female vocal example. I know I can't just copy your settings. It's more about the frequency bands that you target and the process of listening and adjusting. Pretty please? it's all about the vocals.
Oh, ps, subscribed.
Your VU Meter gain staging video changed my life. I can do a rough level mix in minutes and tweak as I go.😁
Love that!
Great video. I was actually surprised that you cut the low mids as always thought that those were the frequencies that made the bass cut through, but what you did definitely worked
Glad you liked it!
Best mixing channel by far!
Wow, thanks!
As an accomplished bassist, but novice sound engineer, I just use a 10 band EQ pedal and pump up the volume and mids to cut through when I need to, or when doing something with less attack like tapping, I use this to get volume and presence in the live mix.
I also have low action and use the percussive sound of the strings slapping the fretboard, as well as playing through 10 in speakers, that give3 a lot of attack that compliments the bass drum.
Great info, thanks for sharing! All this stuff makes a big difference to the end result
Thank you for another great video in this series!
Please keep them coming.
Thanks, will do!
Oh yeaaaaa thank you auntie Sara for amazing EQ series🥰🥰🥰
You are so welcome
Great video Sara! Thank you!
You're so welcome!
Excellent.! Thank you! Gotta run and mix me some BEHS!!!
Rock on!
Brilliant, Thanks Sara!
Brilliant information!
Proper clear and effective advice.
Thank you!
🤩
🙏
My pleasure!
Hi Sara just finished watching your Mixing Punk series. Absolutely inspiring, as are all of your videos. So well presented. Thank you.
Thank you so much!
In the original Amek 9098i consoles, I've read that "Sheen" and "Glow" make the curves of the HF and LF filters respectively more gentle. I couldn't find how those slopes changed, whether from 12dB to 6dB per octave or something different. I also wonder whether there's more to these in the original consoles or in the plugin implementation, as I shouldn't think there'd otherwise be an audible difference with the gain at 0dB
It would be nice if console manufacturers labeled these things with plain descriptions rather than marketing terms, and I do wonder if in this case the names were a Rupert Neve influence. He was instrumental in designing that console, and the naming of those buttons does put me in mind of the naming of his "Silk" and "Satin" circuits.
Thanx much Sara!
You're so welcome!
Very very productive! Thank you. I do have a recommendation, suggestion. One can get a colour highlighter app that colours the mouse arrow pointer that moves around the screen. One can get it to colour in whatever colour you want. This is usually like a paint splotch around the pointer so it's a 'area (round)'. This would make following your actions around the screen very much easier for the watcher whom, like me, a glued to their screen to see what you do.
Great tip! I was never sure if that would be too annoying
superb video - so well explained, great process, and learning to listen! thank you for your generosity
My pleasure!
Sorry you've been poorly Sara - so a double thank you for this latest in in an excellent series . . .
Thank you Tony
Sara, I am curious do you have a cheat sheet on all the EQ starting points to cut and boost for all instruments? I really love your videos. They are well worth it!! I appreciate you very much!!
Not specifically as discussed in these videos but nearly www.simplymixing.com/pl/237304
Great video, thank you!
Glad you liked it!
Fantastic as always, Sara. Thank you so much! 🧡
Glad you enjoyed it!
Thanks ever so much. You are great.
Thank you so much!
Excellent lesson. Valuable info. Thank you.
Glad it was helpful!
Great video Sara! Welldone.
Thank you!!
Another great and helpful Video! Thank you so much!
Glad you enjoyed it!
Thanks Sara, I'm really enjoying this EQ series. Do you think fattening up the bass means you'll need to go back to do something to help the kick drum to poke through in the mix ?
Both are fattened up using different frequencies to each other and both have different focus frequencies to facilitate their separation in a mix. The 60hz low cut on the bass for example allows for the fatness of the kick to come through. It all depends on the recording as to the best frequencies to ultimately choose. Great question!
Your vids are awesome, Sara!!! Thanks so much :)
Glad you like them!
getting so much from this series of EQ videos. I assume you can use these same techniques for synth bass too. aslo would then go on to use a saturation plug in in some instances. thanks so much for these videos
Absolutely! Glad you are enjoying the videos
thanks for the work you put in
Hope it helps!!
Thanks Sara, get well from the Covid.
Thank you!
thank you very much!!
You're welcome!
Great video❤
Thank you!
Well... It sounds like shaping this bass sound from the start! I think that bass player used unappropriate instrument/tone settings or there's something with this bass track. I can't remember when I have to make so much eq tweaking with basses in my mixing session.
I’ve just discovered this channel, very well done. Interesting content and excellent production. The charming accent is a bonus. For this bass EQ episode I found myself wondering if the demo track was a mic recording of an amp, or was it a DI bass. And what EQ tips very for mic vs DI.
Thank you very much! I always use an amp sim on a DI if it's the only supplied track, and if a DI and mic are provided I get a blend and would do this on the combined bass bus.
Your videos are really helpful.
Glad you like them!
This song has a definite CCR vibe to it!
indeed!
Hello Sara, Again a great tutorial
Thank you! Cheers!
Very good video. It would be cool if you did the same for upright bass and Piano for contemporary acoustic Jazz.
I'd like to do that but I don't have any multitracks for examples.
Thank you Sara for your education videos! How about EQ & Comp electric guitars (not distorted!) and acoustic guitars?
Coming soon! Sort of...
Thank you for this video! I tend to use the same frequencies... But just a tiny bit lower! Boost around 800hz or 4k depending if the bass is chill or very melodic, boost around 80hz, cut around 160hz and filtering around 50hz. I also usually filter the highs, between 50k and 10k, once again depending on the mood of the song. I find it makes the bass sits better in the mix, but maybe it's harming compatibility with less capable monitors... Do you think the instrument and strings and technique can change these frequencies we're looking at?
great video, nice to see meat and potatoes mixing content as opposed to flashy production tips
Glad you liked it!
Knowing the frequencies is one thing but what about the Q values and the slope of the low cut?
They warrant another video, this was more about hearing frequencies for the beginner. Q and slope are covered in my Mixing Essential course 😉
Hey Sara. Love this series. Do you have a rule of thumb for makeup gain? I noticed you're getting 6-10dB of GR but only doing like 3-4 dB or so of makeup gain. My instinct would probably be to go higher, but I'm still figuring out some of these finer points, so I'm curious how you hear/think about this particular aspect of compression/gain-staging.
I usually try to keep it balanced, mostly for auditioning purposes but sometimes the make up gain is a handy pot to lift the level pre-fader, convenience wins
Thanks
Thanks for watching!
Hey Sara... Have quite a bit of an unorthodox thought process related query here :}
What Frequency area {LOW/MID/HIGH Range} would you START EQing first in the range & whats the thought process behind that for you ? ..
{Eg: First starting in the MID Range area which has the tonal transient part of a signal & then moving towards the upper region / lower region ?}.
I see you start from the MID Range which is a really smart way of STARING EQing. After getting that MID Range right - which direction would you recommend working towards first ? Towards HIGH or LOW. :}
On a side note... Well.. Marc Daniel Nelson says :} to get the Mids & the Highs balanced first & to move towards the LOWs last since the LOWs "could" get masked by the excessive Highs if we approach the other way around. ..
Adore your teachings as always.. & anticipate to "Hear your Thought Process".... Much Love, Rezi.. :}
Hi Rezi, that's such a good question and I wish I had a great answer! I tend to go where the most need it first. If it had tons of overblown lows at 100Hz, then I'd probably tackle that first. MDN has a good point though, do what he says haha!
@@SaraCarterSimplyMixing Thanks a ton for taking time to reply Sara...🤓 Well for sure nor MDN or you could go wrong ! 😎👍
Badly expect you'd extend this series with Eqing Electric + Acoustic guitars + Acoustic Piano as well..🤓
Well the Drum n Bass are cooking well now... Why not tackle the rest!
Blessings your way as always..Cheers..Rezi 🥇
Great video!!
Glad you enjoyed it
Thanks Sara, in the channel strip do you apply compression before of after the EQ.
Before, but this isn't a "rule", do what works. Here, I wanted to control it a little
This bass part operates in quite a wide register, so wouldn't an opto be better given freq-dependent GR? Also, idk how contextual the mix decisions can be when the bass track is boosted for the vid, bc I find masking is greatly affected by small amplitude adjustments.
Really enjoyed this thanks. Is the advice genre dependent at all? I'm mixing disco and the advice I've had is that a lot of the important stuff for that genre is in the 90-300 range, low mids essentially. Which seems to be the main place you are cutting/taking presence away? Thanks
For bass driven genres like disco, reggae and funk you would certainly be careful in the amount of cut or boost applied in that area, if it needs it at all! Depends on the recording, tracks etc, I know that doesn't help haha.
@@SaraCarterSimplyMixing lol thanks for the reply. Would most of the other things in the video apply do you think?
@@sinewaves1631 I think they all apply but the importance is in how much cut and boost, depending on the instrument, recording...
the eternal mystery, ha @@SaraCarterSimplyMixing
Hi Sara, it’s always a joy to see your videos’s😄they are always so helpful and informative. I hope you don’t mind me mentioning but not sure if it is just me but am getting a lot of sibilance coming through on your voice. Purely constructive feedback so please receive it in this way, as I think your videos are amazing!!Best wishes
I'll check for next time. Thanks for watching!
Sara, should I be afraid of my meter if it’s still yellow at +12 db or only when it’s red?
Sara, Do you have any tips with using outboard gear and latency? Same with latency and plugins.
I'm sorry, I don't. I'm all in the box
I use fretless basses with flatwound strings. Much is different.
Yes, everything is track dependent and ultimately relies on using your ears
Hi Sara, nice video thank you! I presumed the 4-5k boost would be a bell filter, but looks like you were using a high shelf?
That is correct
Dan Worral did a great vid on Amek 9099 Channel and he shows what sheen and glow do.🙂
I will check it out, thanks!
Get well soon
Thank you!
I learnt years ago that touching the speaker damping ring gently with 2 finger tips can be really useful in understanding what the kick and bass are doing. Gregory at Kush Audio explains this here: ruclips.net/video/4swJJebHQjc/видео.html
Hope this helps
Yes, that's a great tip
#220_July21_2024_🇺🇸
Love get to the point quickly please. You spent 41 minutes trying to explain and show how to do this when you could have done it in five minutes love. If you cut out most of your explaining and just show on the plugin VSTs what to do I promise you Sara you will get a lot more subscribers. Just imagine that your viewers only have a few minutes before catching a train and if you delay what the title of your videos are about, your viewers will miss their train and will have to wait for the following day's train.
I disagree. Granted, 41 minutes is long for a you tube video, but myself being a newb to mixing, this was FULL of important insights. That’s just me.
Deary me, 6 minutes of waffle, I'm still waiting for the info...
I'm trying to teach hearing EQ and decision making for beginners in this series but you can jump to the summary at @38:56 for just the frequencies without the method.