just some dude explaining trivial nonsense that matters nothing. all that matters is making something good. that might mean there are phase issues who ENRICH the mix. If you remove phase issues you end up with this guys terrible sounding boring sound. focusing on trivial stuff like this distracts from the heart and soul of music mixing.
@@Perenbarn please enlighten us on how to achieve a higher level of sound engineering without understanding the science behind it. We're not talking composition or writing. Thanks
I feel like I've learned more from Dan's videos in the span of a few weeks than I have in my several years of mixing without them. What a breath of fresh air. Thanks Dan
The best part of this channel is that you REALLY will learn something new, damn near each and every video. Now of I only understood what I just watched lol.
i love the fact that i can watch a dan worall video knowing all of the terminology and overall concept without understanding anything that happens technically
I was about to attempt this exact idea in a restoration piece where I'm trying to desperately boost a very thin range of freqs (buried acoustic guitar) from an old, not too great, stereo temp mix.
As a total beginner at digital music making, your videos are like looking in the abyss and getting your mind twisted by the eldritch abominations that rest there. Maybe one day I will reach your level.
Nature loves courage. You make the commitment and nature will respond to that commitment by removing impossible obstacles. Dream the impossible dream and the world will not grind you under, it will lift you up. This is the trick. This is what all these teachers and philosophers who really counted, who really touched the alchemical gold, this is what they understood. This is the shamanic dance in the waterfall. This is how magic is done. By hurling yourself into the abyss and discovering it's a feather bed. Terence McKenna
@@sebastianosleah magic happens only if you are honest- and fair-minded. Dreaming the impossible dream understanding that your dream is impossible - sucks). Liars and betrayors are never graced because their selfish dreams suck and might lead to one's sole sucksass.
Thanks! Fascinating stuff, as always. Greatly appreciate your generous sharing of knowledge - I've learned a lot from your videos and always look forward to the next.
8:20 It is an another method of bass boosting your songs, which by mixing a lowpassed version of the same signal (whether or not lowpassed version is downmixed to mono) with the original signal, with or without the lowpassed version is boosted to much higher levels before mixing. I've done this in Audacity for bass boosting purposes BTW, a 12dB/oct lowpass filter when mixed with the original signal, has a dip on upper frequencies part similar to Pultec low-end trick, but idk this dip make bass boosts using this method sound better than just using low-shelf filter of typical parametric equalizer effects
I can only imagine the hairs being pulled on audiophiles when hearing they can finally use a filter side chain lmfao Converting people one video at a time 🔥
DAN THE MAN! i've been doing music for 15 years, 12 since it was my job, i've never ever stopped watching tutorials even if it was to see a different point of view because this is a never ending learning art. And i trully and honestly gotta say that i've never came across such good videos as yours. Not only you have great knowledge, but also mastered the way to teach such complicated concepts. You are really born for this man. Thank you so much and love from Madrid!
Brilliant. I've done variations on this using something like the Waves Abbey Road Saturator in parallel to the mix bus, cut the lows and highs and just bring it in until it becomes obvious, then back it off a bit. Great video.
last time you made a parallel eq video i just thought it was a weird flex, but this time you showed a great usecase. i can see myself making exciter sends like that
I had this idea a while ago, saturating and compressing a parallel channel with only the high frequencies. It works wonders on pretty much any dry source! Now I finally know why it works :D
@@lennartrauhe unplugged instruments (incl. drums - 4 channel recordings mainly) + electric guitars taken from the cabinets without DI + vocals. When recording with my portable equipment I get clean enough sound, but with highly energetic high-end, e.g.: rides from the overhead position. Trying to tame this with the eq is a problem as the eq reduces the level not energy (i.e. the acceleration of high frequencies), taming highs with the saturators chews the highs (slams or turns them into porridge, as I like to say). New native Reaper's antialliasing might help somehow. Shall try soon. However, the trick Dan proposed might be great for properly recorded signals with mild highs.
You are a mountain of wisdom Dan. I am forever thankful for looking into the name I saw mentioned in a fabfilter video years ago. Would love to meet you by coincidence some time.
A standard biquad PEQ will have a bandwidth of 1 octave (1 octaves above half the band gain) at Q=1.414 (square root of 2), while Fabfilter equates that to 2. When Q3 has a Q of 1, a standard EQ will be at 0.707. This holds true for the bell type filters, but not for the shelves, which scale very differently (but line up at Q1/Q0.707 again). You were close with the 0.72 approximation, but my OCD prevented me from ignoring that, I'm sorry!
Dan, again, thanks a bunch for your video. I am actually using parallel EQ, but now, I will use it more. Can't wait to see the next video. That type of PC never used it. Cheers
Your one pole curve filled my drum hole. I didnt even realize my drums had a big hole, I thought I was making room for midrange elements and it sounded fine/good. when I use the teased trick at the end I feel as though that hole gets filled and sounds more like you're there with the drums but still doesn't step on other elements. Maybe this is due to compression or saturation; the stereo image is also greatly enhanced. Thanks again for the awesome tricks, can't wait to hear you expound on this super cool method!
I use parallel bandpass (Usually LPF + HPF) for my drums in every single mix I do (something like what Thcad Blade does), can't wait to see your approach.
Hi Dan! Great video, love how articulate you are.✨ I'm wondering... Some people argue that you should change your EQs to Linear Phase right before you bounce your mix for mastering. But seeing this video I'm thinking you should either use it from the beginning or stick with zero latency. Since some eq coloration would be happening due to the phase shift. If you mixed your song with that on, changing to Linear Phase will alter your mix. Am I wrong? 🤔
Jeez, this seems like something I should have thought of by now. Soooo useful and elegant to use an EQ send for groups! Thank you! Side note those graphs are Outstandingly Helpful for understanding your concepts!
You beat me to it Dan! Theres so much you can do with IIR filters beyond standard EQ. A lot analog EQs actually use parallel bandpass filters in thier designs for each bell/peak.
@DanWorral I'm not quite following at 8:03 when you say this is different from running a multi-band compressor in parallel (or with dry/wet < 1) with the threshold reacting to the frequency band (default behavior in Pro-MB). Could you clarify what I'm missing here?
iirc, Pro-MB only has a dry/wet mix for the whole plugin and not individual bands. Also, this method of Multi-Band parallel compression allows you to further process the signal (adding other effects after the compression) before adding it back to the dry signal. You could also route other tracks to this parallel track to get the same effect. It's a way of working smarter and more efficiently. What's more is that this opens up the opportunity to add saturation to just this compressed signal or adding more creative effects like chorus, etc. You can subtly add character to any track routed to the parallel track and control how much of that character you want to add, and only apply it to a specific part of the frequency spectrum.
No. The reverb or delay will de-correlate the signals so they don't add up in the same way. You're just filtering the effect in that case, not creating an EQ band.
7:25 when you start introducing other plugins like the saturator, how do I avoid things like cone filtering due to track being delayed because of the processing? I feel like the DAW should be compensating, but I work in FL Studio and it doesn't seem to be.
You could stick to saturation plugins that don't add any latency. Or switch to a DAW that handles PDC properly. I know you won't like the second option, but honestly, solid, unbreakable PDC is one of the main reasons I use Reaper.
Hi Dan, I’m wondering if you would usually go for a low pass filter or a shelf filter on a bass or bass group (not in parallel). My lowest fundamental base note is an A, around 54 Hz and I feel like there’s a little unnecessary rumble Below 20 but it needs some more around 30hz-40 hz range). Thank you
Had to watch this one twice and I'm still not sure I fully understand it. Thanks for another great, slightly baffling but nontheless inspiring video. I think I need to fire up the DAW and experiment.
The sum of a lowpass filter and a bandpass filter (multiplied by a specific gain) gets you to a proper low shelving EQ if mixed with the incoming signal. That is why the frequency response looks like the cutoff shifted in ProQ on 0 latency mode (it's not a simple Lp). As an experiment, take an SVF filter (usually this is the filter used in EQs - or in worse case biquads), add the Lp + Bp (multiplied by 1.5), and you get a shelving filter without any dipping. This can be enhanced into 24dB/Oct or any steepness without any issues just by stacking such patches in series and doing a bit of calculation on the mixing gain. This is closest to how this is solved in the analog domain anyways. The algorithm that you find in digital EQs with a nice symmetrical frequency response curve around the cutoff is a bit more complicated in terms of calculations. However, it is still based on calculations of a simple SVF's output ( Shelving = Lp*M^2+Hp*1/M^2+Bp*R*1/M^2 // (where M is the linear boost factor) ). Probably I'm going to make a small video about this since this looks more complicated when written than it is in reality.
Really liked the low end trick idea, I'm going to give that one a try for sure thanks! Curious to know what natural phase would do, did you test that mode?
@dan sir can you make a detailed video on multiband compressor's interband modulation. Because adding a multiband compressor without any compression (or any freq splitter plugin) also changes the signal output even upto 5 to 6 db in peaks
@@DanWorrall yes linear phase option keeps the signal unchanged but punch and attack of drums is compromised. On master buss this is prominent compromise
@@gangsterdistrict1154 is there any audible issue with minimum phase? Go with that if not. Increased peak levels not a problem unless you're pointlessly chasing maximum loudness.
@@DanWorrall actually it is absolutely fine to tolerate lil bit of unwanted peaks. But it may be a good topic to introduce your viewers with interband modulation of multiband compressors and filters in general
Your vids are like being in an alternative reality, where everything suddenly makes sense.
Thanks so much!
just some dude explaining trivial nonsense that matters nothing. all that matters is making something good. that might mean there are phase issues who ENRICH the mix. If you remove phase issues you end up with this guys terrible sounding boring sound. focusing on trivial stuff like this distracts from the heart and soul of music mixing.
@@Perenbarnthose tips are ment to be used when its not just an example
@@Perenbarn please enlighten us on how to achieve a higher level of sound engineering without understanding the science behind it. We're not talking composition or writing. Thanks
I feel like I've learned more from Dan's videos in the span of a few weeks than I have in my several years of mixing without them. What a breath of fresh air. Thanks Dan
same. Same. same.
Exactly the same!!! Amazing tutorials
That's actually beautiful singing!
The best part of this channel is that you REALLY will learn something new, damn near each and every video.
Now of I only understood what I just watched lol.
i love the fact that i can watch a dan worall video knowing all of the terminology and overall concept without understanding anything that happens technically
Always interesting and educational. Looking forward to the upcoming parallel band-pass video you mentioned at the end!..
Yea Dan, I can’t wait to see your next tutorial sir! 🙏🏿
Indeed, he got me looking forward!
I was about to attempt this exact idea in a restoration piece where I'm trying to desperately boost a very thin range of freqs (buried acoustic guitar) from an old, not too great, stereo temp mix.
Yeah. That was a high drama cliff hanger for me!! Need that parallel band pass video now 😂
As a total beginner at digital music making, your videos are like looking in the abyss and getting your mind twisted by the eldritch abominations that rest there. Maybe one day I will reach your level.
Nature loves courage. You make the commitment and nature will respond to that commitment by removing impossible obstacles. Dream the impossible dream and the world will not grind you under, it will lift you up. This is the trick. This is what all these teachers and philosophers who really counted, who really touched the alchemical gold, this is what they understood. This is the shamanic dance in the waterfall. This is how magic is done. By hurling yourself into the abyss and discovering it's a feather bed.
Terence McKenna
@@sebastianosleah magic happens only if you are honest- and fair-minded. Dreaming the impossible dream understanding that your dream is impossible - sucks). Liars and betrayors are never graced because their selfish dreams suck and might lead to one's sole sucksass.
Thanks! Fascinating stuff, as always. Greatly appreciate your generous sharing of knowledge - I've learned a lot from your videos and always look forward to the next.
Parallel high-pass + comp send on vocals does wonders, very radio-like top-end 🤟😁
8:20 It is an another method of bass boosting your songs, which by mixing a lowpassed version of the same signal (whether or not lowpassed version is downmixed to mono) with the original signal, with or without the lowpassed version is boosted to much higher levels before mixing. I've done this in Audacity for bass boosting purposes
BTW, a 12dB/oct lowpass filter when mixed with the original signal, has a dip on upper frequencies part similar to Pultec low-end trick, but idk this dip make bass boosts using this method sound better than just using low-shelf filter of typical parametric equalizer effects
"Above one, there be dragons" - sir, you slay me!
God damn I love your videos. I only have one complaint about your channel: I wish it had like 3x more videos I could watch! :D
Thanks!
I can only imagine the hairs being pulled on audiophiles when hearing they can finally use a filter side chain lmfao Converting people one video at a time 🔥
DAN THE MAN! i've been doing music for 15 years, 12 since it was my job, i've never ever stopped watching tutorials even if it was to see a different point of view because this is a never ending learning art. And i trully and honestly gotta say that i've never came across such good videos as yours. Not only you have great knowledge, but also mastered the way to teach such complicated concepts. You are really born for this man. Thank you so much and love from Madrid!
Would it be formal knowlwdge? I mean, formal education? Or a raw mix of intelligence, curiosity, experience and excellence mixed to the next level?
You made my music better man, thankyou so much
I feel like Dan Worrall is the walking embodiment of the genius that lived within Al Schmitt. Dan, you're brilliant.
Al was far less cerebral
Came for the parallel bandpass tricks, and waiting for next installment! Dope vocals, btw
I've been eating tons of music related infos for 15 years, but never heard about using filters in such a way. Thanks Dan.
another banger from Dan the goat
Brilliant. I've done variations on this using something like the Waves Abbey Road Saturator in parallel to the mix bus, cut the lows and highs and just bring it in until it becomes obvious, then back it off a bit. Great video.
Thank you for helping me chase my musical dreams - I have thankfully gotten much better and look forward to learning more
concepts that seem relatively boring in the title become astounding when you explain them dan!
I need to up my game with the clickbait titles, is what you're really saying...
@@DanWorrall 100%
last time you made a parallel eq video i just thought it was a weird flex, but this time you showed a great usecase. i can see myself making exciter sends like that
love the vocals there! and thanks for the video, great info
I had this idea a while ago, saturating and compressing a parallel channel with only the high frequencies. It works wonders on pretty much any dry source! Now I finally know why it works :D
Unfortunately, any saturators I tried in parallel broke and chewed my highs. Aprox. 9 - 15 kHz is a very uncomfortable band for saturation for me.
@@YuriKovalyov interesting, what genres are you mainly talking about?
@@lennartrauhe unplugged instruments (incl. drums - 4 channel recordings mainly) + electric guitars taken from the cabinets without DI + vocals. When recording with my portable equipment I get clean enough sound, but with highly energetic high-end, e.g.: rides from the overhead position. Trying to tame this with the eq is a problem as the eq reduces the level not energy (i.e. the acceleration of high frequencies), taming highs with the saturators chews the highs (slams or turns them into porridge, as I like to say). New native Reaper's antialliasing might help somehow. Shall try soon.
However, the trick Dan proposed might be great for properly recorded signals with mild highs.
This is probably one of the neatest little tricks I've ever seen on youtube.. nice!
My PerfoModule "Expandurator" Ableton Live Audio Effect Rack uses parallel bandpass trickery to boost a select frequency range. It's delectable!
One of the greatest cliffhangers ever 😩😁👍
never thought of doing this, but i often run EQ on my parallel drum bus to remove room tone before compression.
You are a mountain of wisdom Dan. I am forever thankful for looking into the name I saw mentioned in a fabfilter video years ago. Would love to meet you by coincidence some time.
Thank you! Lots of excellent comments as well. I'm looking forward to working with this. It's very generous of you to share it with us.
Left us hanging there Dan, I look forward to the drum mix trick
you never cease to amaze me!
A standard biquad PEQ will have a bandwidth of 1 octave (1 octaves above half the band gain) at Q=1.414 (square root of 2), while Fabfilter equates that to 2. When Q3 has a Q of 1, a standard EQ will be at 0.707.
This holds true for the bell type filters, but not for the shelves, which scale very differently (but line up at Q1/Q0.707 again).
You were close with the 0.72 approximation, but my OCD prevented me from ignoring that, I'm sorry!
And Q at 0.707 is a 2 pole butterworth
Dan, again, thanks a bunch for your video. I am actually using parallel EQ, but now, I will use it more. Can't wait to see the next video. That type of PC never used it.
Cheers
Your tuts are incredible and you make this area of music production very interesting and digestible to a noob like me. Mr Worrall for PM!
I do love your vocals and they do fill my hole.
Ugh, killing me with that teaser at the end!
I adore the new visualizer, Dan!
love it when Dan drops knowledge bombs and then says "wait..... it gets better"
As always, best audio tutorials on TH-cam.
Ahhhhh...Welcome back!
We missed This Dan Worrall!!!
Used this methods almost everytime since I discovered parallel filtering two years ago. Great stuff to massage your sounds inside your mix.
Great tips as always, and a really interesting demo track! With the heavy autotune it sounds like robot Gregorian chant.
Thanks Dan - And I hope you feel better soon. Looking forward to many more videos Ha ha !
Your one pole curve filled my drum hole. I didnt even realize my drums had a big hole, I thought I was making room for midrange elements and it sounded fine/good. when I use the teased trick at the end I feel as though that hole gets filled and sounds more like you're there with the drums but still doesn't step on other elements. Maybe this is due to compression or saturation; the stereo image is also greatly enhanced. Thanks again for the awesome tricks, can't wait to hear you expound on this super cool method!
I was skeptical initially, looking forward to playing with this tonight
This why modular analog synths are awesome. Phase errors give it that unique sound.
I use parallel bandpass (Usually LPF + HPF) for my drums in every single mix I do (something like what Thcad Blade does), can't wait to see your approach.
Masterfully presented and beautifully narrated, as always.
Hi Dan! Great video, love how articulate you are.✨
I'm wondering... Some people argue that you should change your EQs to Linear Phase right before you bounce your mix for mastering. But seeing this video I'm thinking you should either use it from the beginning or stick with zero latency. Since some eq coloration would be happening due to the phase shift. If you mixed your song with that on, changing to Linear Phase will alter your mix. Am I wrong? 🤔
Yeah, definitely don't do that. The idea that linear phase is 'better quality' is nonsense. If anything it's the other way around.
@@DanWorrall Thanks for the fast response! Your videos are great to understand how to use the tools we use 🫶
that opened up alot of new ideas for me, thanks mr. worrall!
Crazy tune Dan, very good tutorial!
My favorite equalizers are those very rare ones that provide a “tilt” choice. H-EQ is the shit!
Tilt filters can be useful. Also available in Pro-Q3 or Slick EQ GE or Slick EQ M.
What a nice and interesting trick. Thanks Dan!!
This is sooooo much above my head!
and build tracks from there and leave the rest for a later session. I did both but did the first way initially and it took a day to get through
Jeez, this seems like something I should have thought of by now. Soooo useful and elegant to use an EQ send for groups! Thank you!
Side note those graphs are Outstandingly Helpful for understanding your concepts!
Great video!!
Any chance you could do the new pulsar massive passive eq review? Great sounding master eq
Thanks
A natural born teacher
you are the Carl Sagan of audio , thank you Dan
what an absolutely amazing video
Gonna try this out while i wait for the bandpass video my g!
I’ve watched maybe 30 videos & you finally gain a sub 🥰 hahaha . They’re always good 👍🏻
You beat me to it Dan! Theres so much you can do with IIR filters beyond standard EQ. A lot analog EQs actually use parallel bandpass filters in thier designs for each bell/peak.
Thank you Dan. :)
You got around to making it! Yay. And nice singing and lyrics :)
Awesome, as usual! Can’t wait for the bandpass video!
Amazing to see how you can basically switch between a Baxandall and a Pultec style curve :D
Unbelievable. Thank you so much.
I can’t wait for the next episode.
Voice of an angel :P
The audio oracle blesses us again, awesome...
@DanWorral I'm not quite following at 8:03 when you say this is different from running a multi-band compressor in parallel (or with dry/wet < 1) with the threshold reacting to the frequency band (default behavior in Pro-MB). Could you clarify what I'm missing here?
iirc, Pro-MB only has a dry/wet mix for the whole plugin and not individual bands. Also, this method of Multi-Band parallel compression allows you to further process the signal (adding other effects after the compression) before adding it back to the dry signal. You could also route other tracks to this parallel track to get the same effect. It's a way of working smarter and more efficiently. What's more is that this opens up the opportunity to add saturation to just this compressed signal or adding more creative effects like chorus, etc. You can subtly add character to any track routed to the parallel track and control how much of that character you want to add, and only apply it to a specific part of the frequency spectrum.
As usual, true gem ! Thank Dan !
Can't wait for the next Installment.
Dude you make learning music production fun and engaging thank you so much! :)
Oh god... so should i use linear phase eqs for all my reverb and delay sends? Because they are mixed dry/wet signals...?
No. The reverb or delay will de-correlate the signals so they don't add up in the same way. You're just filtering the effect in that case, not creating an EQ band.
I'm your fan Dan! Keep it up! 🔥
7:25 when you start introducing other plugins like the saturator, how do I avoid things like cone filtering due to track being delayed because of the processing? I feel like the DAW should be compensating, but I work in FL Studio and it doesn't seem to be.
You could stick to saturation plugins that don't add any latency. Or switch to a DAW that handles PDC properly. I know you won't like the second option, but honestly, solid, unbreakable PDC is one of the main reasons I use Reaper.
Love it. Good teaser too.
Thank you for these great ideas sir!
When will you release the track in the vid? I loved the sound of that
Was wondering if you got sick since your voice sounds a bit unsteady this time around, then 6:00 happened and it all made sense lol. Great stuff.
I caught a cold in a heatwave, then decided that was a good time to record myself singing. Go figure.
Hi Dan, I’m wondering if you would usually go for a low pass filter or a shelf filter on a bass or bass group (not in parallel). My lowest fundamental base note is an A, around 54 Hz and I feel like there’s a little unnecessary rumble Below 20 but it needs some more around 30hz-40 hz range).
Thank you
Had to watch this one twice and I'm still not sure I fully understand it. Thanks for another great, slightly baffling but nontheless inspiring video. I think I need to fire up the DAW and experiment.
Thank you so so much dan, your my hero
The sum of a lowpass filter and a bandpass filter (multiplied by a specific gain) gets you to a proper low shelving EQ if mixed with the incoming signal. That is why the frequency response looks like the cutoff shifted in ProQ on 0 latency mode (it's not a simple Lp). As an experiment, take an SVF filter (usually this is the filter used in EQs - or in worse case biquads), add the Lp + Bp (multiplied by 1.5), and you get a shelving filter without any dipping. This can be enhanced into 24dB/Oct or any steepness without any issues just by stacking such patches in series and doing a bit of calculation on the mixing gain. This is closest to how this is solved in the analog domain anyways. The algorithm that you find in digital EQs with a nice symmetrical frequency response curve around the cutoff is a bit more complicated in terms of calculations. However, it is still based on calculations of a simple SVF's output ( Shelving = Lp*M^2+Hp*1/M^2+Bp*R*1/M^2 // (where M is the linear boost factor) ). Probably I'm going to make a small video about this since this looks more complicated when written than it is in reality.
I love the Drop by Cytomic for this feature.
Really liked the low end trick idea, I'm going to give that one a try for sure thanks! Curious to know what natural phase would do, did you test that mode?
Hell yeah more Worrall!
I used to use parallel band pass a lot and now I'm intrigued as to why it was such a good idea 😂
As interesting as ever, thanks Dan !
😮 is there any way to listen to song from 5:55? ❤❤❤❤❤❤❤
Really eager to see the parallel filter tricks for drums tutorial!
Excellent video as always.
Thanks for sharing your knowledge. Always appreciate it...
@dan sir can you make a detailed video on multiband compressor's interband modulation. Because adding a multiband compressor without any compression (or any freq splitter plugin) also changes the signal output even upto 5 to 6 db in peaks
Sounds like phase shift from a minimum phase crossover. Try it with a linear phase crossover: there should be no change.
@@DanWorrall yes linear phase option keeps the signal unchanged but punch and attack of drums is compromised. On master buss this is prominent compromise
@@gangsterdistrict1154 is there any audible issue with minimum phase? Go with that if not. Increased peak levels not a problem unless you're pointlessly chasing maximum loudness.
@@DanWorrall actually it is absolutely fine to tolerate lil bit of unwanted peaks. But it may be a good topic to introduce your viewers with interband modulation of multiband compressors and filters in general
Awesome Dan.
I wonder what difference make in the slope of the bell filter in pro q3