eq

Discussion in 'DJ's, MC's & Turntablism' started by greggh, Aug 16, 2008.

  1. greggh

    greggh Member

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    when mixing two tracks and bringing one in what should i do with the eq so it doesnt sound terrible
     
  2. DJHaze

    DJHaze I've been naughty, I'm banned

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    depends on your mixer from what ive learnt from people, if youve got kill switched then kill th bass from the track going out have the top at about 11 o clock and the middle at about 10 o clock just varies on tacks nd what volumes youve got both channels at aswell.
     
  3. Riisu

    Riisu Not the Preacher Man

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    normally take the treble to about 10 (o'clock), and the mid to about 11. just to get the edge off the track that's going out. so it sits nicely behind the track that's dropping.
    usual have the bass off too, or around 9 of the out going on. depends what tune it is, and what the basslines like etc
     
  4. Saint

    Saint Buried Audio

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    Ive just started mixing and i dont frequently use the EQs. I dont really see how it helps unless youre trying to get rid of a bassline that doesnt fit, not to help it sound better.

    If the tunes are in then why do you need to do all this?
     
  5. Ben54

    Ben54 Member

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    Because if u are trying to drop 2 bassy tunes it will sound shit if u don't eq it, when u have the mix in take headphones off and have a good listen u can hear if it sounds bad.
     
  6. perspective

    perspective Sex Drugs & Sausage Rolls

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    even better, monitor the master in your headphones, or one ear on one off... imo its quicker and you can hear it more clearly, although thats only talking from experience mixing with some low quality monitors.
     
  7. Riisu

    Riisu Not the Preacher Man

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    i have been known to get quite creative with eqing in the past.
     
  8. moriaty

    moriaty Active Member

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    ok. this may sound arty farty, but just follow me for a second here.
    so basically with a 3 band eq you can control the tunes in 3 dimensions.
    The low band is the power of tune, the mid is the presence, and high the "sheen".
    With this in mind, you can either keep the balance between two songs, or create your own breaks, drops and tension moments.
    As said earlier, you dont want two tunes playing their basslines over one another. Like wise, you dont want two busy tops with cymbals and crashes flying all over the place. Make room for the tune you want to stand out more by cutting the same frequencies on the other. Think of it as layering two pictures in photoshop: one will be the background, which will fill the picture, and the other will be you focal point, which it might not fill the whole view, but its what stands out from this composition. How you do that ? you make the background more transparent.
    another advice is if your mixer has kill switches, NEVER use them. these bloody annoying things are found only in the cheapest of mixers,or older ones, like the vestax pcv 270. in any case, they dont give you as much control as you need. Its all about lowering frequencies, not removing them completely. Also, after a bit of use, they tend to fail, and produce a very annoying click every time you throw them. They just suck. Get used of turning the eq knobs with a swift move, and soon they'll become a switch on their own.

    another favourite use of eq for me. Wait till the last bar of a phrase, and whilst you have the foreground tune playing with neutral eq, and the background tune, with bass cut off, and tops a bit lowered, turn the foreground tune's fader off, and lower the mids whilst increasing the tops of the other tune, and at the beginning of the next phrase, throw the other tune back in. What youve just done is a resonant high pass filter sweep, without a filter. everyone in the club is screaming your name, guys are bigging you up, wannabe dj's are gobsmacked and fuming with jealousy, and gilrs want to have your babies.
    = success.
    dont forget to mention ol' gord once your famous.
     
    Last edited: Aug 20, 2008
  9. You should always EQ your mixes.

    You shouldn't have 2 different bassline frequencies conflicting with eachother when in the mix as it sounds horrible as the two low frequencies are both fighting for space.

    You should always roll off the low end and roll off some tops and midrange but as for how much - that is done by ear. When you take the bass out of the equasion you are left with loud midrange and high frequencies which sound harsh on their own and need to be reduced slightly to bring in line with the sound of the other tune playing. There is no exact set amount to roll off as every tune has different levels of different frequencies.

    Your aim is to keep the kicks and the snares in the mix without sounding harsh.

    Even with my ALLEN & HEATH - when i filter out the bass i still usually roll off some tops and sometimes a fraction of midrange so that everything sits nicely in the mix.
     
  10. perspective

    perspective Sex Drugs & Sausage Rolls

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    lol i've learnt a lot from this thread, i've only ever use the low eq in my mixes before, i'm going to try this tonight :)
     
  11. dizzzeejungle

    dizzzeejungle Junglist Down Under..

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    Dont forget to be creative,

    Sometimes i just will drop in a bassline of a tune and leave the mid and high (of the out going tune) at 12 o clock, having rolled off the tops of the mid and high of the incoming tune.

    Every tune is different, there is no rule, i think you should treat the mixer like a guitar or any other instrument.

    I like the rolling bassline of commix - strictly, with hazard - busted atm

    Also i dont recommend cutting the bassline of the outgoing tune completely, i'd always leave a bit on
     
  12. [Politrix]

    [Politrix] Peace & fucking, believe!

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    werd, some of the phattest mixes have both basslines rolling, jsut depends what key the bass is, just need to find the right tunes to go together, i always follow the same trends as mentioned above (cept for whatever the fuck gordo was onabout in his little fantasy LOL) but usually just play it by ear, mind you im still not 100% confident in my eq'ing ;D
     
  13. YOUNG TUNA

    YOUNG TUNA IT'S ME BITCHES

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    good stuff there blad (y)
     
  14. Saint

    Saint Buried Audio

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    True say. Cheers gordo, gonna give some of that a go.
     
  15. RUSSLA

    RUSSLA DNBF Monarch

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    All good comments posted but I gota say the best way to learn your eqs is to record a little mix, play it back, listen to whats wack, try again and record and so on so forth. This is the best way without a doubt to get your levels dialled, you can't hear the overall mix properly whilst mixing so recording a playback is a must.

    Also almost every DJ i've seen live reduces the volume of the out going track dramactically so that the overall level doesnt get louder an quieter as tracks come in and out. This doesn't apply so much to home mxing but on a club system its usually the way :)
     
  16. dizzzeejungle

    dizzzeejungle Junglist Down Under..

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    I know it might be asking a bit much,

    But I think it could benefit everyone if someone could upload a mini mix with tracks we all know, and have the camera somehow pointing down at the mixer, i dunno, maybe have the camera hanging of your neck lol
     
  17. Riisu

    Riisu Not the Preacher Man

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    i might do that tomo if i get the chance to... just to show you how i go about mixing and eqing. might give you some ideas....

    can't promise tho, but i'll try my best.
     
  18. dizzzeejungle

    dizzzeejungle Junglist Down Under..

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  19. SoulShaker

    SoulShaker Synth

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    Try get them to counter each other. Like one with the highs up and the lows down and then the other one highs down and lows up.

    Then start refining them to what needs to be heard and what doesnt.
     
    Last edited: Aug 29, 2008
  20. Riisu

    Riisu Not the Preacher Man

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    i tried to record it, but i just couldn't get the angle right..... soz!