
This lesson is the first of 2 demonstrations showing the composition of sounds in terms of frequencies, and how various complex sounds can be manipulated with EQ to become much simpler ones. Make sure you download the resources before moving on, which are the projects and audio stems from the course.
Analyze how a piano note contains a fundamental frequency and harmonics, using a spectral analyzer and hold function to show how removing upper frequencies yields a sine-like tone.
This is the first of a series of lessons teaching the various controls available on different types of EQ, including gain, frequency and Q, as well as a look at the different types of EQ band.
Explore how parametric bands in equalization shape guitar tones by adjusting frequency, bandwidth, and gain across low, mid, and high ranges.
The first of two lessons showing different approaches to EQing a bass guitar, with one focussed more on boosting and the other attenuating frequencies.
Learn to mainly attenuate frequencies with bell band EQ, reducing low mids and upper frequencies using higher Q, and compare on/off effects to refine reductive EQ approach with no boosts.
A demonstration of frequency overloading when similar bands of frequencies combine.
A more detailed look at the Frequency Spectrum, including a demonstration of sine waves with octave spacings, an analysis of a more complex tuned percussion sample and a breakdown of low, mids and highs.
This module shows some examples of using EQ to shape the frequencies of sounds with respect to one another.
Apply a low shelf to reduce guitar lows and mids, then use a bell band to restore very low frequencies beneath the vocal for a clearer mix.
Balance organ and guitar by reducing bass with a low shelf and boosting upper mids with a bell band, then apply identical bell band on organ, reduced to create space.
This module provides some tips for applying EQ to individual and grouped drums.
Boost the snare's lower mids to add beef and color when the bass peak drops. Avoid over-boosting upper frequencies, which can make the noisy snap harsh or tinny.
Boost the top end of hats and symbols, and use a filter to cut lower frequencies, reducing noise and preventing overlap with the snap in the mix.
A few common objectives when using EQ, to help guide a workflow and provide solid aims to work towards.
This module focuses on low frequencies and the considerations for using EQ on kick and bass parts in heavy sub bass Trap.
Align kicks with the sub to maximize impact while managing conflicting frequencies. Use high-pass and bell band EQ to carve space, adjust boost, and preserve bass punch without muddy subs.
Some pointers for using EQ to shape the entire mix.
Equalisation is one of the most essential skills to master when mixing a track, and having a solid understanding of the core principles that govern its usage is tantamount to creating a professional-sounding mix. On this course from certified trainer Rob Jones, you’ll be taken through each of the fundamentals of EQ, so you come away armed with the knowledge and direction you need to confidently apply equalisation in your music.
As EQ is about shaping frequencies, many areas of the course focus on the composition of sounds, to help students fully understand each part of the frequency spectrum and what exactly it contributes to different musical parts. The course is peppered with a multitude of ‘frequency demos’, as well as practical production examples, to ensure a thorough grasp of frequencies is attained.
Once all the key aspects of spectral content and main types of EQ have been taught, there are lessons showing how to EQ a number of different sounds in a track, both independently and with respect to one another. Sources shown include vocals, guitar parts, bass, piano, organs and other accompaniment. There is also a module dedicated to drums, which conveys some important considerations for EQing your kick drum, snare and cymbals, as well as the whole kit together on a drums buss.
A specific focus is also given to mixing bass, with a module looking at a number of different kick and bass combinations, to help with achieving the all important tight bottom end.
After covering EQ on the master channel, the course wraps up with a summary of the provided practice material, which includes 2 separate sets of stems, given both as raw audio and mixed and unmixed projects for a number of the main DAWs. With this wealth of material, plus a multiple choice assessment at the end of the course, students can be assured they’ll have everything necessary to progress their EQ skills to the next level!