Hey what’s up guys, my name is David Glenn of davidglennrecording.com and theproaudiofiles.com.
Hey what’s up guys, my name is David Glenn of davidglennrecording.com and theproaudiofiles.com.

In today’s video I’m gonna walk you through how I’m using EQ to give element in this
In today’s video I’m gonna walk you through how I’m using EQ to give element in this

mix it’s own frequency space.
mix it’s own frequency space.

Now, I’ve got a Pop/Hip-Hop/R&B/EDM, excuse me, kind of thing going on in this one.
Now, I’ve got a Pop/Hip-Hop/R&B/EDM, excuse me, kind of thing going on in this one.

It’s called ‘Forever’, it’s by the artist Pablo, so thanks to him for letting
It’s called ‘Forever’, it’s by the artist Pablo, so thanks to him for letting

us use it.
us use it.

And lots of genres kind of mixed into this one.
And lots of genres kind of mixed into this one.

I’m gonna hit play, we’ll listen to the hook, and then I’m gonna walk you through
I’m gonna hit play, we’ll listen to the hook, and then I’m gonna walk you through

step by step what it looks like with just using some basic EQ moves.
step by step what it looks like with just using some basic EQ moves.

[song]
[song]

Alright, cool.
Alright, cool.

So I’m still mixing this one but I thought that this was worthy of a good video to show
So I’m still mixing this one but I thought that this was worthy of a good video to show

you guys some of the basic here.
you guys some of the basic here.

So let’s solo the bass.
So let’s solo the bass.

And let’s listen to just that.
And let’s listen to just that.

And we’re gonna loop this section so we can kinda add each element one at a time.
And we’re gonna loop this section so we can kinda add each element one at a time.

[synth bass]
[synth bass]

Alright cool, so I’ve got kind of a full bodied bass.
Alright cool, so I’ve got kind of a full bodied bass.

I’ve duplicated the bass, and treated it with some distortion, some crazy limiting,
I’ve duplicated the bass, and treated it with some distortion, some crazy limiting,

a little bit of sidechain compression.
a little bit of sidechain compression.

Some stuff going on there, but I want you guys to pay attention to what I do with the
Some stuff going on there, but I want you guys to pay attention to what I do with the

hook synths and the strings to kind of fit them into their own frequency spectrum.
hook synths and the strings to kind of fit them into their own frequency spectrum.

So actually let’s take out the bass, and let’s hear just these hooks — synths,
So actually let’s take out the bass, and let’s hear just these hooks — synths,

let’s scroll down and show the strings.
let’s scroll down and show the strings.

And I’m gonna solo these guys with no processing and let’s listen to what’s going on.
And I’m gonna solo these guys with no processing and let’s listen to what’s going on.

[bass + synths with no plugins or processing]
[bass + synths with no plugins or processing]

Ok so it’s not horrible, but I think we can tighten up the sound and make it sound
Ok so it’s not horrible, but I think we can tighten up the sound and make it sound

like one cohesive section rather than a bunch of things just doing their own thing.
like one cohesive section rather than a bunch of things just doing their own thing.

I hear a lot of low frequencies getting in each other’s way.
I hear a lot of low frequencies getting in each other’s way.

I hear a lot of highs going on in every one of these tracks.
I hear a lot of highs going on in every one of these tracks.

So what I want to do is I want to come in here, and one at a time, I’m gonna un-bypass
So what I want to do is I want to come in here, and one at a time, I’m gonna un-bypass

the EQ’s, and then we’ll take a look at what each EQ is doing.
the EQ’s, and then we’ll take a look at what each EQ is doing.

So playing it one more time we’re gonna loop it and I’m just gonna go one by one
So playing it one more time we’re gonna loop it and I’m just gonna go one by one

and un-bypass these plugins.
and un-bypass these plugins.

[synth loop + individual EQ processing with FabFilter Pro-Q]
[synth loop + individual EQ processing with FabFilter Pro-Q]

Alright cool, so now it’s worth probably — so that last one, I lied, so it’s not
Alright cool, so now it’s worth probably — so that last one, I lied, so it’s not

just an EQ, I had Sansamp and then I have an instance of OTT.
just an EQ, I had Sansamp and then I have an instance of OTT.

This is mentioned in Pensado’s Place, can’t remember the episode, but if you google Xfer
This is mentioned in Pensado’s Place, can’t remember the episode, but if you google Xfer

records, Xfer records, and the plugin is OTT you’ll be able to find that one.
records, Xfer records, and the plugin is OTT you’ll be able to find that one.

It’s a great plugin for dialing back the depth and just pulling it up, usually between
It’s a great plugin for dialing back the depth and just pulling it up, usually between

10 and 35% is where I usually land it.
10 and 35% is where I usually land it.

It gets pretty crazy if you go higher than that.
It gets pretty crazy if you go higher than that.

But hear the difference with those.
But hear the difference with those.

Now it’s probably worth showing — let’s go ahead and bypass all of those and these
Now it’s probably worth showing — let’s go ahead and bypass all of those and these

two, and then what we’ll do is try to bring them in quick so we can hear the difference.
two, and then what we’ll do is try to bring them in quick so we can hear the difference.

[synths with/without FabFilter Pro-Q EQ and OTT]
[synths with/without FabFilter Pro-Q EQ and OTT]

Yeah, for sure.
Yeah, for sure.

Now you can hear we lose all the low end pretty much below 100, and I’ve done that on purpose.
Now you can hear we lose all the low end pretty much below 100, and I’ve done that on purpose.

And the reason why I’ve done that is because we have the bass, and I don’t have the bass
And the reason why I’ve done that is because we have the bass, and I don’t have the bass

in what you’re hearing right now, so we’ll do an A/B on that as well.
in what you’re hearing right now, so we’ll do an A/B on that as well.

But let’s go ahead and walk through a couple of things.
But let’s go ahead and walk through a couple of things.

When I’m mixing I’m gonna use the high-pass filters for pretty much everything, except
When I’m mixing I’m gonna use the high-pass filters for pretty much everything, except

for kick and bass, and actually that’s not even true.
for kick and bass, and actually that’s not even true.

Depending upon the style of music I’ll take a high pass or a low cut and pull that up
Depending upon the style of music I’ll take a high pass or a low cut and pull that up

on the kick to like 30 Hz or something like that.
on the kick to like 30 Hz or something like that.

Maybe 50.
Maybe 50.

Depends on the song.
Depends on the song.

Maybe 70, who knows.
Maybe 70, who knows.

But in this case, focusing on the music I typically am gonna get rid of everything below
But in this case, focusing on the music I typically am gonna get rid of everything below

100 when there’s a bass present.
100 when there’s a bass present.

Because I want the bass to be from 100 and below.
Because I want the bass to be from 100 and below.

I want it to dominate there.
I want it to dominate there.

And I want to be able to control my low end with the kick and the sidechain compression
And I want to be able to control my low end with the kick and the sidechain compression

that I’ll apply.
that I’ll apply.

And I’ve covered that in a recent video.
And I’ve covered that in a recent video.

If you haven’t seen that check that out.
If you haven’t seen that check that out.

Alright I’m gonna try to stay on topic for you guys.
Alright I’m gonna try to stay on topic for you guys.

What I want to do is I want to go one by one through the hooks and I want to show you how
What I want to do is I want to go one by one through the hooks and I want to show you how

they relate to each other and how they work up against the bass.
they relate to each other and how they work up against the bass.

So we know the bass has a lot of sub frequency dominance, we’re allowing that to happen.
So we know the bass has a lot of sub frequency dominance, we’re allowing that to happen.

I’m gonna bypass and you can see in this particular synth — the hook synth — I
I’m gonna bypass and you can see in this particular synth — the hook synth — I

liked everything that was going on up here.
liked everything that was going on up here.

And I just took everything out that was below 100.
And I just took everything out that was below 100.

So let’s hear an A/B of that.
So let’s hear an A/B of that.

[synth before/after FabFilter Pro-Q HPF EQ]
[synth before/after FabFilter Pro-Q HPF EQ]

And now active.
And now active.

Cool, so it keeps it short and sweet but I like the way that it clears out everything
Cool, so it keeps it short and sweet but I like the way that it clears out everything

below 100.
below 100.

Let’s move on to hook synth 2.
Let’s move on to hook synth 2.

And you’ve got another FabFilter Pro-Q.
And you’ve got another FabFilter Pro-Q.

Same thing.
Same thing.

Cutting below 100 and we’re gonna actually increase the cut by a bell curve right here.
Cutting below 100 and we’re gonna actually increase the cut by a bell curve right here.

You can see this one right here.
You can see this one right here.

So that’s working there.
So that’s working there.

Let’s play that before.
Let’s play that before.

[synth before/after FabFilter Pro-Q bell cut]
[synth before/after FabFilter Pro-Q bell cut]

And now after.
And now after.

Cool, so you can just hear whenever we instantiate the FabFilter that that EQ is just helping
Cool, so you can just hear whenever we instantiate the FabFilter that that EQ is just helping

the frequencies — they were nicely recorded, the synths work well together.
the frequencies — they were nicely recorded, the synths work well together.

We’re just gonna take out some of the stuff to kind of clean up some of the space that
We’re just gonna take out some of the stuff to kind of clean up some of the space that

we don’t need.
we don’t need.

With the multiple synths.
With the multiple synths.

Let’s go on to the third one, we’ll see that this is the same thing.
Let’s go on to the third one, we’ll see that this is the same thing.

I’m cutting below 100.
I’m cutting below 100.

It’s pretty consistent across most things that I have in any song.
It’s pretty consistent across most things that I have in any song.

Aside from kick of bass.
Aside from kick of bass.

And then you’ll see I’m taking out at 1k and I’ll explain that after we hear the
And then you’ll see I’m taking out at 1k and I’ll explain that after we hear the

difference.
difference.

So here’s before.
So here’s before.

[synths before/after EQ]
[synths before/after EQ]

And after.
And after.

Now let me mute it.
Now let me mute it.

Back in.
Back in.

And bypassed.
And bypassed.

So some good stuff going on in there.
So some good stuff going on in there.

The reason why I pulled down 1k is I felt like there was quite a bit going on there
The reason why I pulled down 1k is I felt like there was quite a bit going on there

and I like to keep in mind that — something I picked up from Dave Pensado on Pensado’s
and I like to keep in mind that — something I picked up from Dave Pensado on Pensado’s

Place — an ITL on mixing vocals, he mentioned how he’ll look for a sweet spot in the 1k
Place — an ITL on mixing vocals, he mentioned how he’ll look for a sweet spot in the 1k

region, so it’s not always 1k, maybe 1.2 maybe 800, spending upon the vocalist and
region, so it’s not always 1k, maybe 1.2 maybe 800, spending upon the vocalist and

the song.
the song.

And he’ll look for a spot there to boost a little bit, and then he’ll look for a
And he’ll look for a spot there to boost a little bit, and then he’ll look for a

spot just below to kind of make a soft cut, who knows however much.
spot just below to kind of make a soft cut, who knows however much.

Just depends on the song.
Just depends on the song.

I started applying that technique and it works really well.
I started applying that technique and it works really well.

Well the other thing that I take note of is while I’m mixing, whenever I’ve got multiple
Well the other thing that I take note of is while I’m mixing, whenever I’ve got multiple

elements with a lot going on in the 1k region, what I do is I dip a little bit there so that
elements with a lot going on in the 1k region, what I do is I dip a little bit there so that

it’s creating even more of a — call it a hole, a gap, a space — for the vocal to
it’s creating even more of a — call it a hole, a gap, a space — for the vocal to

live that nice sweet spot of the 1k to live.
live that nice sweet spot of the 1k to live.

Maybe I should do a tutorial on finding that spot and nudging it up a little bit but moving
Maybe I should do a tutorial on finding that spot and nudging it up a little bit but moving

on.
on.

That synth is souring great.
That synth is souring great.

Pulled some of that out, it’s helped the vocal.
Pulled some of that out, it’s helped the vocal.

It’s already got some of the sizzley thing going on.
It’s already got some of the sizzley thing going on.

Moving on the the next we’ve got another chorus synth.
Moving on the the next we’ve got another chorus synth.

Let’s pull open this and I’m gonna bypass OTT and then you’re gonna fall in love with
Let’s pull open this and I’m gonna bypass OTT and then you’re gonna fall in love with

that plugin — it’s actually a free plugin — another Pensado specialty.
that plugin — it’s actually a free plugin — another Pensado specialty.

And here we go.
And here we go.

You can see I’ve been really drastic, I’ve committed to cutting everything below 1k out.
You can see I’ve been really drastic, I’ve committed to cutting everything below 1k out.

And you’ll hear how OTT kinda helps bring some of that back in.
And you’ll hear how OTT kinda helps bring some of that back in.

But let’s play it before.
But let’s play it before.

[Synths before/after OTT + FabFilter Pro-Q EQ]
[Synths before/after OTT + FabFilter Pro-Q EQ]

Now after.
Now after.

Ok, now listen — that’s pretty drastic, but whenever I engage OTT you’re gonna see
Ok, now listen — that’s pretty drastic, but whenever I engage OTT you’re gonna see

how that kinda makes sense.
how that kinda makes sense.

And this is the sound that’s gonna be more like a texture, underneath the vocal — is
And this is the sound that’s gonna be more like a texture, underneath the vocal — is

doing an oh, oh, oh kind of thing — so by adding the OTT in, it’s gonna kinda add
doing an oh, oh, oh kind of thing — so by adding the OTT in, it’s gonna kinda add

that texture underneath the vocal and it’s gonna sound pretty sweet.
that texture underneath the vocal and it’s gonna sound pretty sweet.

So here’s before OTT.
So here’s before OTT.

[synths before/after Xfer OTT]
[synths before/after Xfer OTT]

After.
After.

Now if I bypass.
Now if I bypass.

See, that’s too big.
See, that’s too big.

If I let all of these sounds have all of the space, then nothing is working together and
If I let all of these sounds have all of the space, then nothing is working together and

it’s just a bunch of big sounds that — it’s just gonna be messy and it’s not gonna be
it’s just a bunch of big sounds that — it’s just gonna be messy and it’s not gonna be

a clear mix.
a clear mix.

So that’s the main thing I want you to take from this video.
So that’s the main thing I want you to take from this video.

If I move on we’ll show you real quick, the strings, I’ve used a similar approach
If I move on we’ll show you real quick, the strings, I’ve used a similar approach

to — OTT is a multiband compressor from Xfer Records.
to — OTT is a multiband compressor from Xfer Records.

Google that: Xfer Records.
Google that: Xfer Records.

OTT.
OTT.

And a little tip, dial back the depth all the way to zero and rise that up, raise that
And a little tip, dial back the depth all the way to zero and rise that up, raise that

up to give you the effect you want.
up to give you the effect you want.

100% is almost always kinda crazy and overkill.
100% is almost always kinda crazy and overkill.

Moving on, the strings, we’ve got the strings part, let’s hear that by itself.
Moving on, the strings, we’ve got the strings part, let’s hear that by itself.

[strings]
[strings]

You can hear on the left ear there if you’re on headphones, or.
You can hear on the left ear there if you’re on headphones, or.

And if I pull in Sansamp, it’s a drastic difference.
And if I pull in Sansamp, it’s a drastic difference.

And soften it up a little bit.
And soften it up a little bit.

Bypass both of them.
Bypass both of them.

Cool, so you can hear the sound.
Cool, so you can hear the sound.

Why I’m showing you before is because it’s gonna help you to hear the difference up against
Why I’m showing you before is because it’s gonna help you to hear the difference up against

those other synths, there’s a couple of them that have a high sizzley thing already
those other synths, there’s a couple of them that have a high sizzley thing already

going on.
going on.

So it didn’t make sense for me to have just another one in there.
So it didn’t make sense for me to have just another one in there.

I felt like it would just get a little too messy.
I felt like it would just get a little too messy.

So what I did is I tried some sound design by applying Sansamp.
So what I did is I tried some sound design by applying Sansamp.

Gives it it’s own tone and then I used an EQ afterwards here to kind of shape that sound.
Gives it it’s own tone and then I used an EQ afterwards here to kind of shape that sound.

Took out some of the what I felt was a little bit too harsh, a little bit too — harsh,
Took out some of the what I felt was a little bit too harsh, a little bit too — harsh,

tinny, just kinda like cutting through, hurting my ear a little bit.
tinny, just kinda like cutting through, hurting my ear a little bit.

So I reduced some of that just using my ears, pulling down some bands there.
So I reduced some of that just using my ears, pulling down some bands there.

And then gave it a little bit of fullness in the mids.
And then gave it a little bit of fullness in the mids.

And now let’s hear that up against these other sounds, so.
And now let’s hear that up against these other sounds, so.

Let’s come up here, all of these, solo them and we’ll play before and after.
Let’s come up here, all of these, solo them and we’ll play before and after.

[strings before/after FabFilter Pro-Q EQ]
[strings before/after FabFilter Pro-Q EQ]

Cool.
Cool.

Now let’s play it here.
Now let’s play it here.

Engage Sansamp and then we’ll do another one with the EQ.
Engage Sansamp and then we’ll do another one with the EQ.

[strings with Sansamp before/after EQ]
[strings with Sansamp before/after EQ]

So Sansamp definitely helps it stand out, but I think it stands out too much so I used
So Sansamp definitely helps it stand out, but I think it stands out too much so I used

the EQ to soften it up a little bit and here’s that.
the EQ to soften it up a little bit and here’s that.

And I’ll bypass both of them now.
And I’ll bypass both of them now.

So here’s without either one of them.
So here’s without either one of them.

Yeah so just kinda pokes it out a little bit in that — I’d say midrange, upper midrange
Yeah so just kinda pokes it out a little bit in that — I’d say midrange, upper midrange

a little bit.
a little bit.

Alright guys, so sometimes I get to yapping so forgive me for that.
Alright guys, so sometimes I get to yapping so forgive me for that.

But hopefully you’re learning something for this.
But hopefully you’re learning something for this.

This is a concept, it’s a principle that you can apply across your mixing sessions.
This is a concept, it’s a principle that you can apply across your mixing sessions.

This is not just a here’s five synths and let’s get them working cohesively.
This is not just a here’s five synths and let’s get them working cohesively.

This is an EQ technique to use for everything.
This is an EQ technique to use for everything.

So, between kicks, between multiple snares, how the drums relate to the bass and the bass
So, between kicks, between multiple snares, how the drums relate to the bass and the bass

to the other elements.
to the other elements.

And the vocals and the background vocals.
And the vocals and the background vocals.

Look for and listen to the frequencies you want to enhance and remove that from other
Look for and listen to the frequencies you want to enhance and remove that from other

elements around it.
elements around it.

So, hope you’re getting something from that.
So, hope you’re getting something from that.

Love that you guys are tuning in.
Love that you guys are tuning in.

Feel free to like and subscribe, I’ll keep bringing this content to you guys.
Feel free to like and subscribe, I’ll keep bringing this content to you guys.

davidglennrecording.com, I’ve just released my latest training course, it’s called the
davidglennrecording.com, I’ve just released my latest training course, it’s called the

Mix Series.
Mix Series.

davidglennrecording.com/mixseries.
davidglennrecording.com/mixseries.

Hope you like that.
Hope you like that.

And as always theproaudiofiles.com with an amazing amount of free content.
And as always theproaudiofiles.com with an amazing amount of free content.

And we’ll catch you guys on the next one.
And we’ll catch you guys on the next one.

Thanks!
Thanks!