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 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.
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 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
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.
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.
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!
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
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.
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.
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
Its like psychedelic drugs. It starts and the knowledge both beats your ego down but also has you watch and listen in wonder. then it ends with a promise of an exciting next instalment...and you just....want...more.
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.
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
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.
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.
I can't remember which big name mixer showed it, but something I occasionally use is a parallel high pass with the polarity flipped on that channel. It gives it a bit of a radio voice feel. What's all that about?
@DanWorral I'm not quite following at 8:03 when you say this is different from running a multi-band compressor in parallel (or with dry/wet < 1) with the threshold reacting to the frequency band (default behavior in Pro-MB). Could you clarify what I'm missing here?
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 🔥
When you use Sans Amp in parallel, i'm pretty sure phase weirdness you're getting is from the filters (since Sans Amp is multiband i think). But Tchad Blake makes it work with further filtering & sometimes phase inversion... Honestly phase weirdness is not a problem when you use your ears.
Really liked the low end trick idea, I'm going to give that one a try for sure thanks! Curious to know what natural phase would do, did you test that mode?
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!
Hi Dan, in regards to the paralell high frequency bus, surely you'll have to remove those frequencies in equal and opposite ways on each channel with a high shelf eq? (unless you're purely adding signal, i couldn't really tell), but in which case, at that point, why not just use those high shelf eqs to achieve the extra brightness you're after, since you'll have to put one on each channel any way you slice it, and some channels might not even need any extra brightness, am i missing something here? Kind Regards from Sweden, i love your videos and watch them religiously each time a new one is put out, keep up the fantastic work you wizard, you.
What he's doing is *adding* the filtered signal on top of the original, which is why it ends up acting like a high shelf in the first place, since it will boost the signal, but only in the frequencies left untouched by the filter. If a channel doesn't need extra brightness, he simply won't send it to the parallel AUX at all. Hope that makes sense!
I can't say this any better than Hildemann above. Sending all the vocal channels to a parallel HPF is the same as boosting a high shelf on every channel, or a subgroup of all the vocals.
The real magic is when you compress or saturate the HPF. You can even shape the audio after the HPF. Dip ~3k and a boost to the top end then hit a compressor. Think exciter territory vs just an eq boost
The Airwindows LP and HP filters are my go-to for this. I don't know if Chris did something to compensate for the phase issues or if it's just luck/the material I use it on, but I've never had any phase issues with them.
7:25 when you start introducing other plugins like the saturator, how do I avoid things like cone filtering due to track being delayed because of the processing? I feel like the DAW should be compensating, but I work in FL Studio and it doesn't seem to be.
You could stick to saturation plugins that don't add any latency. Or switch to a DAW that handles PDC properly. I know you won't like the second option, but honestly, solid, unbreakable PDC is one of the main reasons I use Reaper.
Wow, I'm disappointed that FabFilter decided to concoct their own definition of Q. Similar to discovering that M-Audio didn't calibrate the VU meters on the DMP3 preamp to actual VU thereby rendering them pointless decoration! 🙄
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.
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.
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.
i always try this whenever i'm dissatisfied with drum sound i'm working with, especially with the snare mic where it's being multi-miked outside of the ambience sounds like Overheads and Drum Room.
Are you doing some kind of heavy gating on your VO? Parts of it were like you had just punched a cone and didn't want to let any precious smoke out while you explained your detailed theory on parallel filters.
Dear Dan, I have a question: Do you, professional sound engineers, have any tricks to preserve the achieved tonal signature of a mix when maximizing the sum, since the maximizing tends to boost low end at least in my cases?
Why is the phase response different at 1:34 than 10:42 ?? They are both 12db/oct. another example is at 9:47. That dip is mysteriously gone at 10:42. Is this a mistake in the video?
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.
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
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 😂
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.
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 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
That's actually beautiful singing!
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.
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
Parallel high-pass + comp send on vocals does wonders, very radio-like top-end 🤟😁
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
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
"Above one, there be dragons" - sir, you slay me!
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.
Thank you for helping me chase my musical dreams - I have thankfully gotten much better and look forward to learning more
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.
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!
Masterfully presented and beautifully narrated, as always.
One of the greatest cliffhangers ever 😩😁👍
I adore the new visualizer, Dan!
You made my music better man, thankyou so much
My PerfoModule "Expandurator" Ableton Live Audio Effect Rack uses parallel bandpass trickery to boost a select frequency range. It's delectable!
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
Its like psychedelic drugs.
It starts and the knowledge both beats your ego down but also has you watch and listen in wonder.
then it ends with a promise of an exciting next instalment...and you just....want...more.
Dude you make learning music production fun and engaging thank you so much! :)
I love your singing track, big vibes
Really really informative!!
A natural born teacher
Thanks for sharing your knowledge. Always appreciate it...
best info...thank you
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.
never thought of doing this, but i often run EQ on my parallel drum bus to remove room tone before compression.
Thank you for these great ideas sir!
Thank you Dan. :)
Really eager to see the parallel filter tricks for drums tutorial!
This is absolute sorcery. Wow.
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.
I’ve watched maybe 30 videos & you finally gain a sub 🥰 hahaha . They’re always good 👍🏻
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
another banger from Dan the goat
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.
Excellent. I’ll try that.
Good stuff. I'll have to mess with this in my next mixes.
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.
Haha, did you change the thumbnail? I distinctly remember a more... memorable one. Lol
Left us hanging there Dan, I look forward to the drum mix trick
I was skeptical initially, looking forward to playing with this tonight
Great Video !!!
parallel band pass = (bells) i guess .
Dan pls show us the band pass trick!!!
Thanks Dan - And I hope you feel better soon. Looking forward to many more videos Ha ha !
notification gang!
Great video!!
Any chance you could do the new pulsar massive passive eq review? Great sounding master eq
Thanks
Came for the parallel bandpass tricks, and waiting for next installment! Dope vocals, btw
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.
I can't remember which big name mixer showed it, but something I occasionally use is a parallel high pass with the polarity flipped on that channel. It gives it a bit of a radio voice feel. What's all that about?
@DanWorral I'm not quite following at 8:03 when you say this is different from running a multi-band compressor in parallel (or with dry/wet < 1) with the threshold reacting to the frequency band (default behavior in Pro-MB). Could you clarify what I'm missing here?
When will you release the track in the vid? I loved the sound of that
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 🔥
FabFilters special definition of the quality is so super annoying!!! Really don't get it (the number 1 is more "simple" for amateurs or whatever??).
When you use Sans Amp in parallel, i'm pretty sure phase weirdness you're getting is from the filters (since Sans Amp is multiband i think). But Tchad Blake makes it work with further filtering & sometimes phase inversion...
Honestly phase weirdness is not a problem when you use your ears.
Hi Dan, i need your opinion on GULLFOSS plugin please. U have any video on that matter?
Really liked the low end trick idea, I'm going to give that one a try for sure thanks! Curious to know what natural phase would do, did you test that mode?
It was really difficult to concentrate on what u said when there was singing. Cool sounding vox, reminded me of Pink Floyd Sheep.
I feel woefully inadequate when I watch these videos.
Such a goddamn tease you. Great content as always!
I don't do any music production, I just listen because Dan reminds me of Hal9000.
Gonna try this out while i wait for the bandpass video my g!
I pultec-like filter with any EQ? Where should I sign?
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?
Awesome video as always
Keep creating Content until you covered up all possible topics about Mixing and audio engineering!
Love your channel
There's nothing to look at when that logo is almost on the screen but not really. Bring back the waveform or whatever!
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
❤❤❤
Aw, the thumbnail text changed… it made the content whole… or im on the curve of going insane…
You’re making me anxious….
Same
_frantically adds High-Shelf and Low-Shelf busses to the project template_
Too much "water" (useless info) dude.
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
Hi Dan, in regards to the paralell high frequency bus, surely you'll have to remove those frequencies in equal and opposite ways on each channel with a high shelf eq? (unless you're purely adding signal, i couldn't really tell), but in which case, at that point, why not just use those high shelf eqs to achieve the extra brightness you're after, since you'll have to put one on each channel any way you slice it, and some channels might not even need any extra brightness, am i missing something here? Kind Regards from Sweden, i love your videos and watch them religiously each time a new one is put out, keep up the fantastic work you wizard, you.
What he's doing is *adding* the filtered signal on top of the original, which is why it ends up acting like a high shelf in the first place, since it will boost the signal, but only in the frequencies left untouched by the filter. If a channel doesn't need extra brightness, he simply won't send it to the parallel AUX at all. Hope that makes sense!
I can't say this any better than Hildemann above. Sending all the vocal channels to a parallel HPF is the same as boosting a high shelf on every channel, or a subgroup of all the vocals.
The real magic is when you compress or saturate the HPF. You can even shape the audio after the HPF. Dip ~3k and a boost to the top end then hit a compressor. Think exciter territory vs just an eq boost
The Airwindows LP and HP filters are my go-to for this. I don't know if Chris did something to compensate for the phase issues or if it's just luck/the material I use it on, but I've never had any phase issues with them.
High pass looks similar to the dolby trick.
Hot damn that’s cool! 😵
Unbelievable. Thank you so much.
I can’t wait for the next episode.
I love the Drop by Cytomic for this feature.
Dan Worall - The Gordon Ramsay of Audio
What a nice and interesting trick. Thanks Dan!!
this goes against what half the shit the people on the internet tell you to do
7:25 when you start introducing other plugins like the saturator, how do I avoid things like cone filtering due to track being delayed because of the processing? I feel like the DAW should be compensating, but I work in FL Studio and it doesn't seem to be.
You could stick to saturation plugins that don't add any latency. Or switch to a DAW that handles PDC properly. I know you won't like the second option, but honestly, solid, unbreakable PDC is one of the main reasons I use Reaper.
Wow, I'm disappointed that FabFilter decided to concoct their own definition of Q. Similar to discovering that M-Audio didn't calibrate the VU meters on the DMP3 preamp to actual VU thereby rendering them pointless decoration! 🙄
It's Dan worral!! Better break out the good speakers and reference headphones ;-)
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.
Informative, useful and delivered with a tongue cheek,attitude 🙏🏿🙏👍✨🦄👏🎩🎵😵💫
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.
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.
i always try this whenever i'm dissatisfied with drum sound i'm working with, especially with the snare mic where it's being multi-miked outside of the ambience sounds like Overheads and Drum Room.
Are you doing some kind of heavy gating on your VO? Parts of it were like you had just punched a cone and didn't want to let any precious smoke out while you explained your detailed theory on parallel filters.
No, por dios, imposible esperar!
The music in the background is enough good to be distracting. Dan, degrade your composing skills a bit!)))
Dear Dan, I have a question: Do you, professional sound engineers, have any tricks to preserve the achieved tonal signature of a mix when maximizing the sum, since the maximizing tends to boost low end at least in my cases?
Why is the phase response different at 1:34 than 10:42 ?? They are both 12db/oct. another example is at 9:47. That dip is mysteriously gone at 10:42. Is this a mistake in the video?
The first is showing frequency not phase.
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.