just some dude explaining trivial nonsense that matters nothing. all that matters is making something good. that might mean there are phase issues who ENRICH the mix. If you remove phase issues you end up with this guys terrible sounding boring sound. focusing on trivial stuff like this distracts from the heart and soul of music mixing.
@@Perenbarn please enlighten us on how to achieve a higher level of sound engineering without understanding the science behind it. We're not talking composition or writing. Thanks
I feel like I've learned more from Dan's videos in the span of a few weeks than I have in my several years of mixing without them. What a breath of fresh air. Thanks Dan
i love the fact that i can watch a dan worall video knowing all of the terminology and overall concept without understanding anything that happens technically
The best part of this channel is that you REALLY will learn something new, damn near each and every video. Now of I only understood what I just watched lol.
I was about to attempt this exact idea in a restoration piece where I'm trying to desperately boost a very thin range of freqs (buried acoustic guitar) from an old, not too great, stereo temp mix.
As a total beginner at digital music making, your videos are like looking in the abyss and getting your mind twisted by the eldritch abominations that rest there. Maybe one day I will reach your level.
Nature loves courage. You make the commitment and nature will respond to that commitment by removing impossible obstacles. Dream the impossible dream and the world will not grind you under, it will lift you up. This is the trick. This is what all these teachers and philosophers who really counted, who really touched the alchemical gold, this is what they understood. This is the shamanic dance in the waterfall. This is how magic is done. By hurling yourself into the abyss and discovering it's a feather bed. Terence McKenna
@@sebastianosleah magic happens only if you are honest- and fair-minded. Dreaming the impossible dream understanding that your dream is impossible - sucks). Liars and betrayors are never graced because their selfish dreams suck and might lead to one's sole sucksass.
Thanks! Fascinating stuff, as always. Greatly appreciate your generous sharing of knowledge - I've learned a lot from your videos and always look forward to the next.
I can only imagine the hairs being pulled on audiophiles when hearing they can finally use a filter side chain lmfao Converting people one video at a time 🔥
DAN THE MAN! i've been doing music for 15 years, 12 since it was my job, i've never ever stopped watching tutorials even if it was to see a different point of view because this is a never ending learning art. And i trully and honestly gotta say that i've never came across such good videos as yours. Not only you have great knowledge, but also mastered the way to teach such complicated concepts. You are really born for this man. Thank you so much and love from Madrid!
Brilliant. I've done variations on this using something like the Waves Abbey Road Saturator in parallel to the mix bus, cut the lows and highs and just bring it in until it becomes obvious, then back it off a bit. Great video.
You are a mountain of wisdom Dan. I am forever thankful for looking into the name I saw mentioned in a fabfilter video years ago. Would love to meet you by coincidence some time.
I had this idea a while ago, saturating and compressing a parallel channel with only the high frequencies. It works wonders on pretty much any dry source! Now I finally know why it works :D
@@lennartrauhe unplugged instruments (incl. drums - 4 channel recordings mainly) + electric guitars taken from the cabinets without DI + vocals. When recording with my portable equipment I get clean enough sound, but with highly energetic high-end, e.g.: rides from the overhead position. Trying to tame this with the eq is a problem as the eq reduces the level not energy (i.e. the acceleration of high frequencies), taming highs with the saturators chews the highs (slams or turns them into porridge, as I like to say). New native Reaper's antialliasing might help somehow. Shall try soon. However, the trick Dan proposed might be great for properly recorded signals with mild highs.
last time you made a parallel eq video i just thought it was a weird flex, but this time you showed a great usecase. i can see myself making exciter sends like that
Dan, again, thanks a bunch for your video. I am actually using parallel EQ, but now, I will use it more. Can't wait to see the next video. That type of PC never used it. Cheers
Your one pole curve filled my drum hole. I didnt even realize my drums had a big hole, I thought I was making room for midrange elements and it sounded fine/good. when I use the teased trick at the end I feel as though that hole gets filled and sounds more like you're there with the drums but still doesn't step on other elements. Maybe this is due to compression or saturation; the stereo image is also greatly enhanced. Thanks again for the awesome tricks, can't wait to hear you expound on this super cool method!
I use parallel bandpass (Usually LPF + HPF) for my drums in every single mix I do (something like what Thcad Blade does), can't wait to see your approach.
8:20 It is an another method of bass boosting your songs, which by mixing a lowpassed version of the same signal (whether or not lowpassed version is downmixed to mono) with the original signal, with or without the lowpassed version is boosted to much higher levels before mixing. I've done this in Audacity for bass boosting purposes BTW, a 12dB/oct lowpass filter when mixed with the original signal, has a dip on upper frequencies part similar to Pultec low-end trick, but idk this dip make bass boosts using this method sound better than just using low-shelf filter of typical parametric equalizer effects
Jeez, this seems like something I should have thought of by now. Soooo useful and elegant to use an EQ send for groups! Thank you! Side note those graphs are Outstandingly Helpful for understanding your concepts!
You beat me to it Dan! Theres so much you can do with IIR filters beyond standard EQ. A lot analog EQs actually use parallel bandpass filters in thier designs for each bell/peak.
Had to watch this one twice and I'm still not sure I fully understand it. Thanks for another great, slightly baffling but nontheless inspiring video. I think I need to fire up the DAW and experiment.
Hi Dan! Great video, love how articulate you are.✨ I'm wondering... Some people argue that you should change your EQs to Linear Phase right before you bounce your mix for mastering. But seeing this video I'm thinking you should either use it from the beginning or stick with zero latency. Since some eq coloration would be happening due to the phase shift. If you mixed your song with that on, changing to Linear Phase will alter your mix. Am I wrong? 🤔
The sum of a lowpass filter and a bandpass filter (multiplied by a specific gain) gets you to a proper low shelving EQ if mixed with the incoming signal. That is why the frequency response looks like the cutoff shifted in ProQ on 0 latency mode (it's not a simple Lp). As an experiment, take an SVF filter (usually this is the filter used in EQs - or in worse case biquads), add the Lp + Bp (multiplied by 1.5), and you get a shelving filter without any dipping. This can be enhanced into 24dB/Oct or any steepness without any issues just by stacking such patches in series and doing a bit of calculation on the mixing gain. This is closest to how this is solved in the analog domain anyways. The algorithm that you find in digital EQs with a nice symmetrical frequency response curve around the cutoff is a bit more complicated in terms of calculations. However, it is still based on calculations of a simple SVF's output ( Shelving = Lp*M^2+Hp*1/M^2+Bp*R*1/M^2 // (where M is the linear boost factor) ). Probably I'm going to make a small video about this since this looks more complicated when written than it is in reality.
At first I thought "I would never do this". Then after one example, I realized I do it all the time. Lol. I just never thought about it quite that way.
A standard biquad PEQ will have a bandwidth of 1 octave (1 octaves above half the band gain) at Q=1.414 (square root of 2), while Fabfilter equates that to 2. When Q3 has a Q of 1, a standard EQ will be at 0.707. This holds true for the bell type filters, but not for the shelves, which scale very differently (but line up at Q1/Q0.707 again). You were close with the 0.72 approximation, but my OCD prevented me from ignoring that, I'm sorry!
No. The reverb or delay will de-correlate the signals so they don't add up in the same way. You're just filtering the effect in that case, not creating an EQ band.
Phase issues are so trivial to me. Just use your ear. I never had a problem with phase no matter what crazy FX chain I concocted. If anything the phase "problem" was actually what made the mix spicy. It's all subjective.
Usualy 12dB or 6dB slopes are having less phaseshift which makes them more 'analog'. mathematically there are two eqcurves possible to represent a similar frequency response. Maybe parallel bandpass filters are less noticable if aligned per octave. The point of eq is it delays / phaseshifts a signal for cancellation which is exactly how a filter works. Maybe the processing is reduced if engaging a dynamic eq mode instead of static otherwise the CPU is used twice if both compressor and pro q3 using oversampling. It is likely that high peaking phaseshifts are making alaising artifacts more obvious so it is recommended to use oversampling on very steep eq slopes or broadband cuts. It is more interesting to figure out if oversampling is required at all if using parallel compression/eq/saturation/distortion because the original signal is retained anyway and if a 12 dB slope in parallel is just something like 6 dB slope in serial it is not exactly that sum but somewhere in a logarithmic loudness range. A big feature suggestion to ffproq3 would be a phaseshift visualisation which would make something like plugin doc redundant for that part. Thanks.
Your vids are like being in an alternative reality, where everything suddenly makes sense.
Thanks so much!
just some dude explaining trivial nonsense that matters nothing. all that matters is making something good. that might mean there are phase issues who ENRICH the mix. If you remove phase issues you end up with this guys terrible sounding boring sound. focusing on trivial stuff like this distracts from the heart and soul of music mixing.
@@Perenbarnthose tips are ment to be used when its not just an example
@@Perenbarn please enlighten us on how to achieve a higher level of sound engineering without understanding the science behind it. We're not talking composition or writing. Thanks
I feel like I've learned more from Dan's videos in the span of a few weeks than I have in my several years of mixing without them. What a breath of fresh air. Thanks Dan
same. Same. same.
Exactly the same!!! Amazing tutorials
i love the fact that i can watch a dan worall video knowing all of the terminology and overall concept without understanding anything that happens technically
The best part of this channel is that you REALLY will learn something new, damn near each and every video.
Now of I only understood what I just watched lol.
Always interesting and educational. Looking forward to the upcoming parallel band-pass video you mentioned at the end!..
Yea Dan, I can’t wait to see your next tutorial sir! 🙏🏿
Indeed, he got me looking forward!
I was about to attempt this exact idea in a restoration piece where I'm trying to desperately boost a very thin range of freqs (buried acoustic guitar) from an old, not too great, stereo temp mix.
Yeah. That was a high drama cliff hanger for me!! Need that parallel band pass video now 😂
As a total beginner at digital music making, your videos are like looking in the abyss and getting your mind twisted by the eldritch abominations that rest there. Maybe one day I will reach your level.
Nature loves courage. You make the commitment and nature will respond to that commitment by removing impossible obstacles. Dream the impossible dream and the world will not grind you under, it will lift you up. This is the trick. This is what all these teachers and philosophers who really counted, who really touched the alchemical gold, this is what they understood. This is the shamanic dance in the waterfall. This is how magic is done. By hurling yourself into the abyss and discovering it's a feather bed.
Terence McKenna
@@sebastianosleah magic happens only if you are honest- and fair-minded. Dreaming the impossible dream understanding that your dream is impossible - sucks). Liars and betrayors are never graced because their selfish dreams suck and might lead to one's sole sucksass.
That's actually beautiful singing!
"Above one, there be dragons" - sir, you slay me!
Thanks! Fascinating stuff, as always. Greatly appreciate your generous sharing of knowledge - I've learned a lot from your videos and always look forward to the next.
I can only imagine the hairs being pulled on audiophiles when hearing they can finally use a filter side chain lmfao Converting people one video at a time 🔥
I've been eating tons of music related infos for 15 years, but never heard about using filters in such a way. Thanks Dan.
Came for the parallel bandpass tricks, and waiting for next installment! Dope vocals, btw
DAN THE MAN! i've been doing music for 15 years, 12 since it was my job, i've never ever stopped watching tutorials even if it was to see a different point of view because this is a never ending learning art. And i trully and honestly gotta say that i've never came across such good videos as yours. Not only you have great knowledge, but also mastered the way to teach such complicated concepts. You are really born for this man. Thank you so much and love from Madrid!
Would it be formal knowlwdge? I mean, formal education? Or a raw mix of intelligence, curiosity, experience and excellence mixed to the next level?
Thanks!
Brilliant. I've done variations on this using something like the Waves Abbey Road Saturator in parallel to the mix bus, cut the lows and highs and just bring it in until it becomes obvious, then back it off a bit. Great video.
God damn I love your videos. I only have one complaint about your channel: I wish it had like 3x more videos I could watch! :D
I feel like Dan Worrall is the walking embodiment of the genius that lived within Al Schmitt. Dan, you're brilliant.
Al was far less cerebral
You are a mountain of wisdom Dan. I am forever thankful for looking into the name I saw mentioned in a fabfilter video years ago. Would love to meet you by coincidence some time.
You made my music better man, thankyou so much
I had this idea a while ago, saturating and compressing a parallel channel with only the high frequencies. It works wonders on pretty much any dry source! Now I finally know why it works :D
Unfortunately, any saturators I tried in parallel broke and chewed my highs. Aprox. 9 - 15 kHz is a very uncomfortable band for saturation for me.
@@YuriKovalyov interesting, what genres are you mainly talking about?
@@lennartrauhe unplugged instruments (incl. drums - 4 channel recordings mainly) + electric guitars taken from the cabinets without DI + vocals. When recording with my portable equipment I get clean enough sound, but with highly energetic high-end, e.g.: rides from the overhead position. Trying to tame this with the eq is a problem as the eq reduces the level not energy (i.e. the acceleration of high frequencies), taming highs with the saturators chews the highs (slams or turns them into porridge, as I like to say). New native Reaper's antialliasing might help somehow. Shall try soon.
However, the trick Dan proposed might be great for properly recorded signals with mild highs.
last time you made a parallel eq video i just thought it was a weird flex, but this time you showed a great usecase. i can see myself making exciter sends like that
This is probably one of the neatest little tricks I've ever seen on youtube.. nice!
Thank you for helping me chase my musical dreams - I have thankfully gotten much better and look forward to learning more
Parallel high-pass + comp send on vocals does wonders, very radio-like top-end 🤟😁
never thought of doing this, but i often run EQ on my parallel drum bus to remove room tone before compression.
concepts that seem relatively boring in the title become astounding when you explain them dan!
I need to up my game with the clickbait titles, is what you're really saying...
@@DanWorrall 100%
love the vocals there! and thanks for the video, great info
My PerfoModule "Expandurator" Ableton Live Audio Effect Rack uses parallel bandpass trickery to boost a select frequency range. It's delectable!
love it when Dan drops knowledge bombs and then says "wait..... it gets better"
Ahhhhh...Welcome back!
We missed This Dan Worrall!!!
I adore the new visualizer, Dan!
Thank you! Lots of excellent comments as well. I'm looking forward to working with this. It's very generous of you to share it with us.
This why modular analog synths are awesome. Phase errors give it that unique sound.
Dan, again, thanks a bunch for your video. I am actually using parallel EQ, but now, I will use it more. Can't wait to see the next video. That type of PC never used it.
Cheers
Used this methods almost everytime since I discovered parallel filtering two years ago. Great stuff to massage your sounds inside your mix.
Your one pole curve filled my drum hole. I didnt even realize my drums had a big hole, I thought I was making room for midrange elements and it sounded fine/good. when I use the teased trick at the end I feel as though that hole gets filled and sounds more like you're there with the drums but still doesn't step on other elements. Maybe this is due to compression or saturation; the stereo image is also greatly enhanced. Thanks again for the awesome tricks, can't wait to hear you expound on this super cool method!
another banger from Dan the goat
Left us hanging there Dan, I look forward to the drum mix trick
Your tuts are incredible and you make this area of music production very interesting and digestible to a noob like me. Mr Worrall for PM!
I was skeptical initially, looking forward to playing with this tonight
As always, best audio tutorials on RUclips.
Great tips as always, and a really interesting demo track! With the heavy autotune it sounds like robot Gregorian chant.
I use parallel bandpass (Usually LPF + HPF) for my drums in every single mix I do (something like what Thcad Blade does), can't wait to see your approach.
Ugh, killing me with that teaser at the end!
Thanks Dan - And I hope you feel better soon. Looking forward to many more videos Ha ha !
Masterfully presented and beautifully narrated, as always.
I do love your vocals and they do fill my hole.
Crazy tune Dan, very good tutorial!
One of the greatest cliffhangers ever 😩😁👍
My favorite equalizers are those very rare ones that provide a “tilt” choice. H-EQ is the shit!
Tilt filters can be useful. Also available in Pro-Q3 or Slick EQ GE or Slick EQ M.
8:20 It is an another method of bass boosting your songs, which by mixing a lowpassed version of the same signal (whether or not lowpassed version is downmixed to mono) with the original signal, with or without the lowpassed version is boosted to much higher levels before mixing. I've done this in Audacity for bass boosting purposes
BTW, a 12dB/oct lowpass filter when mixed with the original signal, has a dip on upper frequencies part similar to Pultec low-end trick, but idk this dip make bass boosts using this method sound better than just using low-shelf filter of typical parametric equalizer effects
Jeez, this seems like something I should have thought of by now. Soooo useful and elegant to use an EQ send for groups! Thank you!
Side note those graphs are Outstandingly Helpful for understanding your concepts!
that opened up alot of new ideas for me, thanks mr. worrall!
you never cease to amaze me!
You got around to making it! Yay. And nice singing and lyrics :)
Amazing to see how you can basically switch between a Baxandall and a Pultec style curve :D
you are the Carl Sagan of audio , thank you Dan
A natural born teacher
and build tracks from there and leave the rest for a later session. I did both but did the first way initially and it took a day to get through
You beat me to it Dan! Theres so much you can do with IIR filters beyond standard EQ. A lot analog EQs actually use parallel bandpass filters in thier designs for each bell/peak.
This is sooooo much above my head!
I’ve watched maybe 30 videos & you finally gain a sub 🥰 hahaha . They’re always good 👍🏻
Awesome, as usual! Can’t wait for the bandpass video!
Thank you Dan. :)
What a nice and interesting trick. Thanks Dan!!
The audio oracle blesses us again, awesome...
what an absolutely amazing video
Gonna try this out while i wait for the bandpass video my g!
As interesting as ever, thanks Dan !
Had to watch this one twice and I'm still not sure I fully understand it. Thanks for another great, slightly baffling but nontheless inspiring video. I think I need to fire up the DAW and experiment.
Hi Dan! Great video, love how articulate you are.✨
I'm wondering... Some people argue that you should change your EQs to Linear Phase right before you bounce your mix for mastering. But seeing this video I'm thinking you should either use it from the beginning or stick with zero latency. Since some eq coloration would be happening due to the phase shift. If you mixed your song with that on, changing to Linear Phase will alter your mix. Am I wrong? 🤔
Yeah, definitely don't do that. The idea that linear phase is 'better quality' is nonsense. If anything it's the other way around.
@@DanWorrall Thanks for the fast response! Your videos are great to understand how to use the tools we use 🫶
I can’t wait for the next episode.
The sum of a lowpass filter and a bandpass filter (multiplied by a specific gain) gets you to a proper low shelving EQ if mixed with the incoming signal. That is why the frequency response looks like the cutoff shifted in ProQ on 0 latency mode (it's not a simple Lp). As an experiment, take an SVF filter (usually this is the filter used in EQs - or in worse case biquads), add the Lp + Bp (multiplied by 1.5), and you get a shelving filter without any dipping. This can be enhanced into 24dB/Oct or any steepness without any issues just by stacking such patches in series and doing a bit of calculation on the mixing gain. This is closest to how this is solved in the analog domain anyways. The algorithm that you find in digital EQs with a nice symmetrical frequency response curve around the cutoff is a bit more complicated in terms of calculations. However, it is still based on calculations of a simple SVF's output ( Shelving = Lp*M^2+Hp*1/M^2+Bp*R*1/M^2 // (where M is the linear boost factor) ). Probably I'm going to make a small video about this since this looks more complicated when written than it is in reality.
As usual, true gem ! Thank Dan !
At first I thought "I would never do this". Then after one example, I realized I do it all the time. Lol.
I just never thought about it quite that way.
Dude you make learning music production fun and engaging thank you so much! :)
I love the Drop by Cytomic for this feature.
Unbelievable. Thank you so much.
Voice of an angel :P
A standard biquad PEQ will have a bandwidth of 1 octave (1 octaves above half the band gain) at Q=1.414 (square root of 2), while Fabfilter equates that to 2. When Q3 has a Q of 1, a standard EQ will be at 0.707.
This holds true for the bell type filters, but not for the shelves, which scale very differently (but line up at Q1/Q0.707 again).
You were close with the 0.72 approximation, but my OCD prevented me from ignoring that, I'm sorry!
And Q at 0.707 is a 2 pole butterworth
I'm your fan Dan! Keep it up! 🔥
I used to use parallel band pass a lot and now I'm intrigued as to why it was such a good idea 😂
Love it. Good teaser too.
Can't wait for the next Installment.
Thank you for these great ideas sir!
Hell yeah more Worrall!
Great video!!
Any chance you could do the new pulsar massive passive eq review? Great sounding master eq
Thanks
Really eager to see the parallel filter tricks for drums tutorial!
I love your singing track, big vibes
Oh god... so should i use linear phase eqs for all my reverb and delay sends? Because they are mixed dry/wet signals...?
No. The reverb or delay will de-correlate the signals so they don't add up in the same way. You're just filtering the effect in that case, not creating an EQ band.
Excellent video as always.
Vocals sound great!!
Thank you so so much dan, your my hero
Thanks for sharing your knowledge. Always appreciate it...
Was wondering if you got sick since your voice sounds a bit unsteady this time around, then 6:00 happened and it all made sense lol. Great stuff.
I caught a cold in a heatwave, then decided that was a good time to record myself singing. Go figure.
Whatever you did to your voice during that looped sung section sounded super cool. I wonder if there are any songs that have a similar feature.
Phase issues are so trivial to me. Just use your ear. I never had a problem with phase no matter what crazy FX chain I concocted. If anything the phase "problem" was actually what made the mix spicy. It's all subjective.
Use your tears
Great Video !!!
parallel band pass = (bells) i guess .
Haha, did you change the thumbnail? I distinctly remember a more... memorable one. Lol
Usualy 12dB or 6dB slopes are having less phaseshift which makes them more 'analog'. mathematically there are two eqcurves possible to represent a similar frequency response. Maybe parallel bandpass filters are less noticable if aligned per octave. The point of eq is it delays / phaseshifts a signal for cancellation which is exactly how a filter works.
Maybe the processing is reduced if engaging a dynamic eq mode instead of static otherwise the CPU is used twice if both compressor and pro q3 using oversampling. It is likely that high peaking phaseshifts are making alaising artifacts more obvious so it is recommended to use oversampling on very steep eq slopes or broadband cuts. It is more interesting to figure out if oversampling is required at all if using parallel compression/eq/saturation/distortion because the original signal is retained anyway and if a 12 dB slope in parallel is just something like 6 dB slope in serial it is not exactly that sum but somewhere in a logarithmic loudness range. A big feature suggestion to ffproq3 would be a phaseshift visualisation which would make something like plugin doc redundant for that part. Thanks.