![]() And when it's no longer fun, well that's when it's time for a break IMO.You may not believe this, but your ears are one of the most important tools that you need for music-making. Just the fact it takes longer often breaks the vibe for me, making it "just not fun" in the end. I often end up going back and fixing EQ when it's done this way, as it's usually a sign I'm just guessing and not really focused in on WHY I'm EQing in the first place! While you CAN work more "hunt and peck" (to use an old typing term) and get work done, it definitely takes longer and results aren't usually as cohesive in the end in my experience. Some folks are just born with it, others (such as myself) had to work at it! EQing that way took years of exploration - wish I had done more of this sort of work in the early years. Same for composing - I'll hear it in my head first and I can find the relative intervals pretty fast to be able to document what I'm hearing (before I forget it). That's exactly how I work now, at least when I'm "in the zone". I believe strongly that is what freq training can help people achieve. Imagine being able to know there's a build up of low mids that needs to be addressed and knowing before hand in your head what needs to be cut on an eq before even touching the knob. Quiztones android software#I believe freq training software or apps can help other people who are starting out mixing recognize and predict what a boost or cut will sound like in their head before they even touch an eq knob. I love that software, it has helped me out allot. IMO, as always.ĭjfm1983 wrote:Yes Selig, I probably was the one who posted about train your ears. Even if you can't identify each octave by ear, it's still a good thing to conceptualize EQ in relation to pitch rather than frequency. Probably no need to go further than that - if you can make it this far you're doing fantastic!įor pitch reference, the closest musical note to these frequencies is D#, at a frequency of 19.44545 Hz (and multiples thereafter). Keep going from there!įinally you should try to get to the point where you can identify the 10 octaves that make up our audible frequency spectrum. Try to hear the band in your head before you boost it - see how close you were and try again. Then add a second more narrow mid band (adjusting the first as well) and repeat. Also try eq'ing sub mixes and even an entire mix, listening for the effect of cutting and boosting each band and learning to predict the results in your head. 100, 1000, and 10,000 Hz are good traditional starting points. Start with a simple bass shelf, wide mid parametric, and treble shelf setup, boosting and cutting each as you listen on different instruments. In my case it was a natural progression that followed the gear I was able to afford - more money meant mixers with more EQ bands!īut for others I would still suggest a similar path. Later I was working with many bands across the spectrum, but the point is that I began with the basics and slowly learned to divide the frequency spectrum into smaller and smaller chunks. Then I added a midrange control (on a friends mixer), then two mid bands. When I first started learning the frequency spectrum and EQ, I began with the concepts of "bass" and "treble" as were on my first receiver when I was a kid. If you measure bandwidth in Hertz, moving the frequency would change the bandwidth values, an undesirable situation at best. This is to ensure you have the same Q "value" at any pitch/frequency. Q factor, or more specifically "bandwidth" is also more typically measured in octaves for musical applications. Graphic EQs are specified by how many bands "per octave", as their associated analyzers also measured the spectrum in octaves (using pink noise, which represents equal energy in each octave). Relating to pitch when EQing makes sense, and IMO understanding the octave relationship is the key to understanding EQing. Seems obvious now, but I spent a LOT of time trying to learn what each frequency sounded like when EQing, forgetting to simply relate things to PITCH (which I already understood) and not frequency. The other thing I wish I had learned better early on was that frequency and pitch are just different names for the same thing. ![]() I believe that helped to small degree, but they are actually two different things - interval detection allows you to recognize pitch relationships while EQ training is about about recognizing absolute pitch. Luckily I did quite well with musical ear training (couldn't read music worth a crap but could identify intervals almost infallibly!). I've got Trainyourears - may have first heard it from you on the PUF a while back (was that you?).Įar training is good for musicians AND engineers - wish I had heard this when I was first starting. ![]()
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