Kevin: This is the Mix Coach podcast, episode 67.
John: This week on the podcast we’re talking about EQ curves at the
end. So on your two bus what kind of EQ processing are you using to get
out on print the mix. [Background Music]
Kevin: It’s not a smiley face.
John: It’s not a smiley face
Kevin: Turn your phone off John [laughs].
John: All right hey Kev how’s it going?
Kevin: Hey John.
John: So this week I’m going to be talking I’m asking you if you have
like a EQ curve overall on your mix. That is kind of unilateral. If you
look at it afterwards and you go yeah that looks about like my mixes. So
if you’re looking at like a frequency response. Something like ozone or
some sort of an EQ curve. What does it look like? What is an accepted mix
kind of like for you.
Kevin: So what would my typical EQ curve look like?
Kevin: Or like a two bus or an instrument [sounds like].
John: Yeah it’s like a two bus like you went under you output is. Do
you have a standard where you look at and you go yeah that looks about like
the rest of my mixes.
Kevin: That looks like I did it.
John: Yeah that looks like I did it.
Kevin: Yeah actually I do own ozone actually. I’ll take, I use a
filter again, I use another filter on the low end. And i just make sure.
And usually I’ll do this when I have a sub.
Kevin: Like for when I’ve got a set of headphone really are truly on
the low end. I’ll usually filter it out until it starts to sound thin and I
know that it sound familiar but I’ll filter it out until it starts to sound
then. Then I’ll back it out just a little bit until it doesn’t and then
I’ll know that there’s really no usable frequencies below that curve. So
usually the left hand of the curve will be a filter. A high pass filter.
so it becomes straight up. And then sometimes on ozone you can tighten the
filter to where it has this bump.
John: Yeah at the top
Kevin: And sometimes I’ll even use that. On the high pass filter you
can pull the bandwidth in. And then it’ll have a little bump right before
the filter takes off to the bottom. So usually what I’ll do is I’ll expand
that and usually there’ll be a little bump
Kevin: Right coming out of the filter so the left hand side is at zero
and it comes up and then there’s a little bump that goes above the line and
then it comes back down.
Kevin: That’s typically my trad in one in the filter I’ll add a little
low end. I forget. Do you remember what ozone calls that.
John: I do not. Not off the top of my head.
Kevin: It’s called a notch or something. I can’t remember exactly
what it is but if you look on ozone and I think. . .
John: It makes it sound more natural for sure to have a little bit of
a bump up above where you’re cutting out just some. It makes it feel a
little bit more natural that that nice high pass filter or low pass filter
one or the other.
Kevin: On the website where this podcast is located we’ll try to put
what that’s called and maybe take a screenshot and put a picture of what
Kevin: But typically moving forward so typically I’ll have a high pass
filter. It’ll come up from the bottom and then I’ll have the little bump
going above the line. And then typically there is a very wide curve.
Kevin: Like from five, six, seven, eight. It’s something up there
usually what I’ll do is I’ll put a very wide bell on a frequency and take
it up past three until it starts to sound like air and so it doesn’t start
Kevin: So you typically it’ll look like, I wish you could see my hand
in the podcast
Kevin: but it’ll have a little round curve at the top and right around
eight to ten K. . .
Kevin: Gives you some air.
Kevin: And sometimes I’ll add a little shelf above that.
Kevin: So. . .
John: So this goes up and then up just a tiny bit more?
Kevin: Yeah, yeah, yeah
John: Yeah, yeah great.
Kevin: What do you do?
John: I mean as far as that goes I always kind of do the same thing.
I make sure that everything that’s in there is necessary. Because you
don’t want thing hitting the compressor. You don’t want things going to
master that are going to affect that way it sounds that you aren’t hearing
or that aren’t necessary to the tone of the song. So I always adjust the
low pass filter, high pass filter that sort of thing just to make sure that
everything there is necessary. But typically I usually have a little bit
of, it’s essentially the same thing but rather than doing it as a boost, I
do it as a cut. Where I lowered, I bring down a little bit of the mid range
frequencies where it leaves that low end bump above there. But I’m cutting
a little bit in the mid range and leaving a little bit of high end air
situations. So I’m essentially it will probably look very similar to
Kevin: So it’s the same curve . . .
John: It’s the same curve. . .
Kevin: But it’s below the line.
John: But It’s below the line as opposed to above the line for sure.
Kevin: That’s good yeah. I’ll have to try that some time.
John: For sure.
Kevin: It’s the same result it just you’re cutting instead of
Kevin: That probably makes more sense.
John: And to be honest. I don’t know that when I picked that up but
it tends to just happen. I tend to just do it on every mix where I do it
as necessary and as needed where I listen and use your ears to listen and
see what’s actually what’s it doing. But it tends to be about the same
every time. It really does. Where I discover again whoa that looks very
similar to my last one. That sort of thing. So you know it’s specific to
the mix. It’s definitely something that just always happens.
Kevin: Thanks for listening this has been the mix coach podcast. The
podcast dedicated to making your next recording your best recording. For
more tips and even a free course, be sure and visit up at mixcoach.com.