Segment 25 - Mixing EDM - EQ
Segment 25 - Mixing EDM - EQ
25. Segment 25 - Mixing EDM - EQ
FreePreview: Setting Up A Session in Logic Pro35:55 2
Segment 2 - Setting Up a Sidechain in Logic44:01 3
Segment 3 - Programming Drums with the Logic Pro Midi Editor22:18 4
Segment 4 - Drum Programming with the EXS24 in Logic Pro31:59 5
Segment 5 - Drum Programming with the EXS24: Loops and Breaks29:22 6
Segment 6 - Subtractive Synthesis: Evelopes and Filters15:17 7
Segment 7 - Subtractive Synthesis: LFO and Noise33:00
Segment 8 - Subtractive Synthesis Examples & Questions31:05 9
Segment 9 - Bass Synthesis19:09 10
Segment 10 - Trap Bass Automation19:14 11
Segment 11 - Reese Bass20:34 12
Segment 12 - Sub Harmonic Bass Production18:04 13
Segment 13 - Remixing a Drum and Bass Song - Time Stretching16:23 14
Segment 14 - Remixing a Drum and Bass Song - Bass Loops16:49 15
Segment 15 - Remixing a Drum and Bass Song - Vocals16:05 16
Segment 16 - Remixing a Drum and Bass Song - Pianos and Synths40:41 17
Segment 17 - Remixing a House Song - Drums20:08 18
Segment 18 - Remixing a House Song - Bass16:37 19
Segment 19 - Remixing a House Song - Vocals and Effects32:08 20
Segment 20 - Remixing a Trap Song - Drums23:31 21
Segment 21 - Remix Trap Song - Synth28:25 22
Segment 22 - Remixing a Trap Song - Vocals17:08 23
Segment 23 - Mixing EDM Overview11:06 24
Segment 24 - Mixing EDM - Compression18:51 25
Segment 25 - Mixing EDM - EQ08:39 26
Segment 26 - Mastering EDM14:43 27
Segment 27 - Mixdown Questions25:16
Segment 25 - Mixing EDM - EQ
So basically this is the uh you have your bass frequencies on the left and the higher frequencies on the right so you know, the most simplest kind of q is a base in the trouble so on on the you know, on the stereo at home not not so much these days it'll presets but back in the day you might have trouble knob and again with the base you have free this is a parametric e q which means you can change the frequency so here's my gayness the amount I'm boosting if we can see by changed what part the frequency you actually boosting or producing sometimes about the time you know it is actually better to use thank you to reduce things rather than boosting so for example, of something yes, sometimes you instead of boosting the travel of the sounds maybe take out the basin states cities it's kind of the same thing another thing with the is a thing called the q which is the how precise the well, maybe you've got a cease if I moved out really fine like that that's a very specific frequency range so...
if I sweep through that precision general really you want to use more a small finnic you like that if you're taking out frequencies on dh for boosting you want a wider q so if I got really wide cute like that he's yours you can make you get maybe I should turn on the analyzer here as well you can see what's going on theories the again you see how they are can see in the background there that they're on boosting is becoming becoming louder also in the an easy cues you have filters now all these meds all these mid bands here called a bell because in the shape of a bill so it's a specific frequency but on the edge we have ah shelving as well so here if I turned the frequency down it stays up everything above it sesa as a high shelf in frequency as opposed to that which is a ten a frequency down it's just talking about in particular frequencies thing that again I have to say from the bottom the bottom sheldon q so as I turned the frequency up everything below this week and is still being boosted by the same amount and here you can choose how much we're taking our adan where's we will filter you want to get filters and it's he who is taken out everything below a certain if we can see of this at the moment this is twenty four deeper operatives that means for every active like and a keyboard is dropping the sound by twenty four d b com bhusted up tio two forty eight more precise could be a bit more subtle tendons like twelve or something sometimes, you know, when I was working, sometimes I would use one of these I would use a filter to get rid of everything, but I was certainly we can see our times I would use a shelving, so I want to just reduce the volume of everything below a certain frequency and I want to completely get rid of it. So this way I can still choose a quite a lot of the bottom end some of that base coming through controlled by gain, the amount thing I'm not completely taken out the box, you know, I'm just basically that's a volume level of everything below a certain frequency yeah that's that's the exposes, the basics of vicky we've got a question charles wants to know are there any third party plug ins that you find essential? Ok? And I think we called the talk about some of those ones that you use on a every project sort of yeah so in house music and sometimes in joint base as well the nfo towards re before it was really good, but, um I use massive quiet but more for simple sounds really, I find a lot of people would you know, you could get really in depth with the native instruments massive to do all kinds of crazy stuff, but so many people using it does have a certain kind of sound so you're going to sound kind of senator that other people. But I find it really easy to make basic sounds in massive so I just would make a real simple sound. Let me do it massive. I'm not going to sound that everyone else because it is quite a simple sound of the pie pumpkins. Ok, so I did use not as much now, but the pierce peeve. Inches warmer which I showed the other days. I used quite a lot as well and let me put on my drums on this project. I decided not to actually listen. Everyone good one it's. Kind of like a compression saturation compression saturation compressor. Maybe she took it with their master. Because there's one I use in a year there's. A few are used in master. Yeah, I mean, normally you would. We will track you would let me just open this up again. So for my second back to normal traditionally you would send your finish song to someone else to master. But you know things different these days and what we've people putting out their own tunes or, you know, people master to a certain extent theirself so let's, just talk about that.
Ratings and Reviews
Fantastic course. Hands on details from an experienced producer, showing us tons of useful, time saving tips to get real results. I can't get enough of this style of teaching. Thanks Creative Live and Ed Solo!
This is a great course which covers basics as well as more advanced techniques, and the insight into Ed's workflow is very useful.
Picked up a lot of good information from this class. Ed is very knowledgeable, and takes us through the technique and the thought process of sound production, composition, mixing, and mastering. Towards the end of the course, at times it felt a little disjointed, as the segments switched between different tracks; but the information provided was good, once I got oriented. Would definitely recommend this course.
Electronic Music Production