Tip for FabFilter Pro-Q3 users: If you put a Pro-Q3 plug-in on the Bass in addition to Guitar bus, the you can set the "Analyzer" (bottom, left of center, currently set to "Post") to overlay the Bass frequency power (in shades of red) over the Guitar spectrum. This makes it easy to see where they might be clashing most and apply static or dynamic cuts (or boosts) to clarify and give them both space. This is especially helpful in the upper harmonic frequencies of the Bass (finger pluck or pick sound, slap, etc.) which often overlap with the strong mid-range of the guitars.
Dear Sara, this how to eq series is gold and desirve so many views. I like the way you teach. With you, there is always a reason to do things in your demonstrations. This is not about this "3 tricks to do this" I see everywhere. This is let us do this, this is how, this is what it does, and this is why we do this. You put so much time into the why and I love it. You the most interesting and insightful sound engineer on YT, and I am aware of a lot of them (I am a PLAP member).
Spot on. I always feel like I get some genuine insight into her process, along with a sense of why she approaches things the way she does. I feel like anyone can slap together a list of tips, tricks, and advice, or even a decent tutorial on a piece of software. But it's less common to find a channel where each video is a mini-class in method and listening.
@@perfectlycromulent6384 I like her slow and considerate pace too. This stuff is hard so we need teachers who don't go too fast and lose us right away.
I'm systematically stop by, each time I see your graceful face, Lady....it's not easy to find such a charming methodical teacher everywhere... 20 years doing that stuff, but I admit have learned a lot from you, especially how to treat the low end..Thank YOU.
Amazing work! these videos are so infomative without being overwhelming looking forward to the acoustic :D Thank you for your hardwork making these@@SaraCarterSimplyMixing
I work exactly the same frequency bands as you to mix guitars, it's nice to hear what sounds good to me in terms of what range to lift and cut also sounds good to other people 🙂. Find a nice midrange frequency and push it i say. Someone told me once that i shouldn't be pushing up anything in EQ more than 3dB, it sent me on a really dumb path of taking that literally rather than trusting my ears - it held me back and I listen to some old mixes now wishing I mixed less with my eyes and more around what I was hearing. Thank you for sharing your process with us!
I found this video really informative. I am a long time guitar player and home studio kind of guy. Your analysis of common guitar frequency problems is excellent. Really glad I found your channel.
Great informative video, Plugin Alliance lindell 80 ( Neve style channel strip) followed by 12.5k LP filter by any digital eq is my go to for electric guitars.
I’ve been watching along with this series and it has really helped me clarify an intention-driven method for EQing. I really like your simple, methodical teaching style. Looking forward to continuing to watch what’s next!
The one thing that strikes me in watching these really productive videos, something you hadn't covered in the past, is the channel naming conventions you use. This one I think necessitated the question about your conventions about track labelling. I know it's not strictly a craft question but IMO an important element to mixing. PS on another note, from my thought bubble on the cursor observation,,,, this is better!!
Your videos are really analytical and your explanations are extremely clear and concise, and the presentation is personable and professional. A great alternative to many of the other TH-cam channels. 🙂🙂🙂
Saw you for the first time today, I was the beneficiary of the TH-cam algorithm placing you in my list. I loved the video I look forward to past and future posts 🙏🏼
Hi Sara, thanks for this series, it’s very inspiring. As so many others I would also be interested in your take on acoustic guitars and especially how to mix them together with electric guitars to keep separation, but still create a big unified guitar sound if that makes sense.
Thanks so much!! These go-to frequencies really improved the sound of my hard rock guitars in my mix. 👍👍👍✌ First, I dialed in a beefy distortion with Amplitube 5 on two DI'd guitar tracks that I panned L and R and sent to a group bus. Then I implemented your tips using the Waves F6 Dynamic EQ on the bus. I got a big sound that sits well even with just the 2 tracks. I might try sticking on a CLA MixHub or a Waves E-Channel next and see about those 3-D space enabling harmonics you mentioned but I'm pretty impressed with what I've got so far. The Q3 is a bit pricey for me yet but someday...
This is it! Less is more....! I love to keep the original sound of the waveform as much as possible ( if the quality is okay) .Your vids are great Sara. Thank you very much 👍🏼
This is a great watch. We know the method but it's cool to see and hear how different people apply it. Especially on heavy and overly thick rhythm tracks/ groups. Thanks for sharing
For that kind of lax rhythm, hh groove, I almost feel like the guitars need to be thinner, almost like a Lofi/band passed, telephonic fuzz. Think Muse. That’s more of a production\arrangement choice I suppose, but thick, heavy guitars are almost too imposing during this section for my taste-particularly because it’s a verse section. But that’s just my opinion.
Sara, these videos have significantly helped me to improve my mixes, hands down. Your channel is absolute gold in the mine that is TH-cam. If you have some time, or the desire, I would love to see a video on reverb, understanding reverb parameters, and how to use reverb to create separation, sit instruments in a mix or add ambience to the mix. That would be really great. Thanks again for the real quality content you are uploading here on TH-cam! I, for one, appreciate it! Cheerio!
Again, another great video. I'd suggest maybe a different topic, but I'd like to see your approach to choirs. Could be simple ones: three to five voices or a hundred people singing together.
Hey Sara I just wanted to say thank you sincerely for these videos. I love your vision and you’re a great teacher. I am a pianist and guitarist. The piano tutorial was amazing, and I’m looking forward to getting in the studio to give a shot as to what you recommend. Go yersel and again massive thanks - cheers, Ally
Thanks for sharing all your knowledge and experience with us - a fantastic and generous resource. A thought for a future episode: how about covering your favourite free plugins?
@SaraCarterSimplyMixing MEqualizer - Melda Audio Production Sete Cave - Audio Fusion Bureau Feedback Compressor II - Tokyo Dawn Labs Colour EQ - DDMF Nova - TDR Molotov- TDR IVGI - Klanghelm Vocal Doubler - Izotope SPAN - Voxengo LALA - Analog Obsession Frank v2 - Analog Obsession CHANNELV - (AO again!) BritBundle - (yup, AO yet again!) Super Massive - Valhalla It's definitely worth checking out the MFreeFXBundle by Melda Production. 37 free effects, and £42 to unlock all the features. Hope this helps!
This was so enjoyable to watch🍿, I really dig your method and your style of explanation-helpful indeed! I love that you busted out the Kramer and ohhhh that Trident, I used to have it-you’ve might’ve made me decide to get it again, I LOOOOVE it’s 10 and 12k boost🤩!! I do have a question if you get the time at all: Is there anything you’d do differently in the case of having one clean fingerpicked electric with a soft airy female vocal? I get into sticky situations in the slightest attempts to compensate for no bass guitar being around, and even when I leave that much alone, I can’t quite achieve the desired clarity. Saturation does good things…but still…. Perhaps it’s the flat wound strings, or the P-90 pick-ups, although they’re a sweet brighter kind….Maybe that Trident’s got the love it needs😏, haha. But if you have ANY hunches off the top of your head, they’d be greatly appreciated. 🧡🎛️✨ Either way, thanks for the cool video! I’ll be checking out more. Subscribed💫😎
I watched a few of your videos and loved your demure demeanor and lilty voice, and Sage wisdom, of course. I did not know that you would be able to help me with a hard rock song that I was working on, but you were! Thanks!
If you do a video on acoustic guitars, I'd love to hear about how their role in the song changes your approach to EQ. How would you EQ the acoustic guitar for a singer-songwriter record where acoustic guitar is one of the main instruments? How would you EQ an acoustic guitar in a fleshed out rock song where there are many more instruments competing for attention? Loving this series by the way!
Electric guitars for me are the most fun. I always request a clean DI recording with any guitar tracks cos its useful to be able to add in any IR/emulation/effects you think works when your layering tracks and layering is critical for perfect guitar tracks.
I prefer the way, first to hear euch Guitar unfiltered. And the I look for prefer Frequency, go through the Band with a parametric EQ +6db. Looking for 2-3 good frequency Area. Then I first create the Bass guitar. And put all other Frequencies down, which I haven’t prefer. Then I look for guitars who in the same frequency Area. And decide in which frequency Area I want to work. Then I only look for example only the two guitars and locking for harmonica this pair. And so I configure further. After it I can make the sound clearly with compressor.
I always found using a roll off on the high end makes for a more detailed and real speaker sound. Unfortunately using close mics on cabs seem to add sparkle and fizz. These also can sound very harsh. I roll of the low end to help the bass and high end to make a real guitar sound so it's like it's coming out of the amp. I find you can cut as far as 5k or more for dark guitars.
One thing I often do when I boost 1.5k, if necessary, Is to use Neutron 4 Unmask with lead vcls, so I can set Gtrs up as needed but find space for vcls when it's their momento to Shine.
I struggle with rock guitars more than any other instrument. I especially struggle with palm-muted parts. If I keep them as low gain as I want them, I feel like the transients are out of control. But if I crank the gain to tame the transients, I lose all definition. I work with amp sims, so I don't know if that has anything to do with it. I've had some success using a fast attack compressor to really grab the transients, and I've had some success using tape saturation. But they still always end up sounding a little "plonky." That's the best way I can think to describe it. It's like the horrible sound of DI guitar transients is still coming through too strong.
*I’m always mixing guitars loud in my mixes but I think it’s because I’m blending them with synth sounds. However… my method is using only the high frequencies of the guitars double tracked and using the horn synth to fill the mids. Sounds cool but I’m only experimenting now. Thank you for this video!*
@@SaraCarterSimplyMixing I think so but sometimes, I wrote mellower songs that I want the guitar to be heard even if I have added a cool bass groove. But yeah.. this video was seriously helpful.
I’m listening to this as a person learning to play guitar. I’m learning about recording EQ, because it helps with live EQ as I play I have some ideas I’ve put together and wonder what your thoughts are. Speakers and amplifiers have their own EQ profiles, and if I understand correctly, IRs and amp sims are EQ curves specific to that cabinet, driver, preamp, etc. Assuming this, a super high fidelity white box amp sim recorded direct would produce a wider range of frequencies than a physical amp. I turn down specific frequencies to cut them out of the sound I’m playing when using digital reproductions. Is this crazy?
I don’t like the area of 2k to 5k so I dim it to make my overdriven tones sounding less harsh and less fizzy .. but I do it since the start on my pedalboard.. than I check it if it doesn’t sound moody in a busy mix so generally I’m treating the area between 90hz-500hz
@@SaraCarterSimplyMixing yeah actually the guitars sit well without pushing the faders than I add some High mid frequencies to cut through if it sounds like a cloud of sound without definition. 1 or 2db with a narrow Q and nail it. What I struggle to make it sound with a good definition is the bass mostly .. as my songs holds at least 40 to 50 tracks .. 10 tracks at once sometimes.. making the bass keeping all its tone is quite hard and tricky !
Hi, to one one of my fave online instructors! Question here: I just started working with dynamic EQ with guitars and vocals and sidechained them since Pro Q3 also offers external sidechaining now. Is there a an advantage to that over simply doing the subtractive technique?
These guitars sound like they are overpowering everything else in the mix. Yes they sound bright and clear but they’ve just eaten up so much midrange I’m struggling to hear the drums and I’m not sure where the vocal sits there?
Hey Sara. I know you're talking here in post-production; but as a guitarist, can I uses the same principles you teach with the 10-band EQ on my pedalboard, to achieve the same result and free up frequencies for the bass and vocals live? I hope you understand my question 😕and thanks for the great lesson.
Great video I’ve already completed your full mixing essentials course EQ, compression and FX and it’s completely transformed my mixes. Night and day. So much info I find myself always going back to them as it’s so in depth but I still enjoy these videos also as there’s always a little bit here and there you can take from new content. You rock Sara!
Sara, do you know the lo bump trick for thin guitars using the helios design? Just flick in the lo freq. to 60 without applying any boost. It can bring the lo end forward ever so gently.
3.1 khz, not necesserely dislike, but it seems its make it or brake it freq on distorted guitars, and the 200hz dyn eq i'd usually set the treshold to "polish" the palm mutes.
If I don’t have speakers what are good headphones to do this kind of work with? I’m asking because I’m honesty using this information to mix live inside of a church. I strongly believe that every instrument should sound good no matter what and that later you can do things to your pa and do some sound treatment to help make the room sound better. Because every time I come here and I try something it works. I understand other people are learning and they’ll change things and that’s okay for me because I’d rather someone learn than stay stagnant not trying to see what things sound like. But at least when I mix I can give my best thanks to you and many others
Mixing inside a church would require closed back headphones unless you are in a separate room, then you could use open backed. Open backed are better for mixing but if you have to go closed back, I'd look into combining them with something like Sonarworks to get a balanced sound. DT770 Pro's are good closed backs. Good open backs are the new HD490 Pro
Really useful, thank you. Here's a thought: How about the musician applying these techniques themselves? I use an Axe FX3 modeller and with the flexibility that you have for cutting and boosting across the frequency spectrum across the whole preset including a good PEQ,. means that you can sculpt your tone before it gets recorded, meaning less correction work at the mixing stage. Might do you out of a job though!
Great comment! You should always strive to get the best tone on tape but sometimes you have to sculpt with EQ so it fits into the rest of the instrumentation, whilst you try to shove it all through your stereo mix bus!
@@SaraCarterSimplyMixing Although opinions may vary on what a good rock based mix should be. For me one of the best rock recordings ever has to be the debut RATM album. The bass and guitars don't get in each other's way and the drum mix is clean. This must have had been EQ'd very well.
Man there's so much string bleed on those guitar tracks. That inexplicable combo of recording at low volume while standing or sitting right next to the microphone always boggles my mind.
The biggest problem I have with EQing guitars is that I like accentuating that lovely scratchy, punchy, string transient sound around the 1.2k - 2k region. For something in between alt rock and indie. And that's exactly the area that you want the vocals sitting in. And it also sounds good on the bass... Is it just a matter of prioritising, and you have to sacrifice one so that others may live? Or is there a way to keep that guitar punch without masking vox and voice versa?
Similar in style but the masterclass is start to finish mixing covering multiple processes and my full methodology in a step by step format over 11.5hrs. I just do isolated topics on TH-cam
Yes, everyone gets ear fatigue and it's important to take breaks often. I think "pros" recognise it sooner and stop whereas "non-pros" keep pushing on.
Do you have a frequency you particularly dislike on electric guitars? Share it below 👍
Tip for FabFilter Pro-Q3 users: If you put a Pro-Q3 plug-in on the Bass in addition to Guitar bus, the you can set the "Analyzer" (bottom, left of center, currently set to "Post") to overlay the Bass frequency power (in shades of red) over the Guitar spectrum. This makes it easy to see where they might be clashing most and apply static or dynamic cuts (or boosts) to clarify and give them both space. This is especially helpful in the upper harmonic frequencies of the Bass (finger pluck or pick sound, slap, etc.) which often overlap with the strong mid-range of the guitars.
Yes, I use that functionality often. Usually on my group busses. Thanks for sharing!
@@SaraCarterSimplyMixingl 0:18 0:18 0:18 0:18 0:18 0:18 0:18
This series is such a hidden gem, thank you so much for doing this. No other tutorials like this on TH-cam
You're very welcome!
Absolutely superb tutorial Sara!
Thanks so much! 😊
Dear Sara, this how to eq series is gold and desirve so many views. I like the way you teach. With you, there is always a reason to do things in your demonstrations. This is not about this "3 tricks to do this" I see everywhere. This is let us do this, this is how, this is what it does, and this is why we do this. You put so much time into the why and I love it. You the most interesting and insightful sound engineer on YT, and I am aware of a lot of them (I am a PLAP member).
Thank you! I'm so pleased you appreciate my videos
Spot on. I always feel like I get some genuine insight into her process, along with a sense of why she approaches things the way she does. I feel like anyone can slap together a list of tips, tricks, and advice, or even a decent tutorial on a piece of software. But it's less common to find a channel where each video is a mini-class in method and listening.
@@perfectlycromulent6384 I like her slow and considerate pace too. This stuff is hard so we need teachers who don't go too fast and lose us right away.
Answering the question of the video: I don't know why but the EQ81 by Ikmultimedia became a goto tool (for me) when eqing guitars
Please do one for acoustic guitars as well these are gold!!!
Noted! Thanks
Yes!! Acoustic guitars- Sara you are a GREAT teacher
I'm systematically stop by, each time I see your graceful face, Lady....it's not easy to find such a charming methodical teacher everywhere...
20 years doing that stuff, but I admit have learned a lot from you, especially how to treat the low end..Thank YOU.
Thank YOU for watching, glad to help
Yes, please make a video on EQ applications for acoustic guitars. Thank you for the video
Noted!
@@SaraCarterSimplyMixing Thank you!
Definitely please do a piece on acoustic guitar! 😃
It’s on the list!
Amazing work! these videos are so infomative without being overwhelming looking forward to the acoustic :D Thank you for your hardwork making these@@SaraCarterSimplyMixing
New to this, and just found your channel. I've been watching a bunch of your videos -- This is amazing and I am learning a lot. Thank you.
Welcome aboard!
For me again a very instructive continuation of your course. Acoustic guitar would be great. I am a guitar player myself. Thank you so much.
That's great!
2nd comment! Love your videos! The bass eq video is now my bass workflow
Nice!!
I work exactly the same frequency bands as you to mix guitars, it's nice to hear what sounds good to me in terms of what range to lift and cut also sounds good to other people 🙂.
Find a nice midrange frequency and push it i say. Someone told me once that i shouldn't be pushing up anything in EQ more than 3dB, it sent me on a really dumb path of taking that literally rather than trusting my ears - it held me back and I listen to some old mixes now wishing I mixed less with my eyes and more around what I was hearing.
Thank you for sharing your process with us!
Acoustic guitar would be a great follow up as you suggested. Would be very keen to see that one.
This and the other EQ tutorials are exactly what I have been looking for! Thanks!
Glad it was helpful!
Great video. I like the careful, considered approach you use to eq and the confidence in your own ears. Lots to absorb there.
Glad you enjoyed it!
This series has really helped with understanding the why’s and the wherefore’s of EQ
Glad it helped
I found this video really informative. I am a long time guitar player and home studio kind of guy. Your analysis of common guitar frequency problems is excellent. Really glad I found your channel.
Glad it was helpful! Thanks for watching
Thanks Sara - copious notes taken! I've been using the SSL 9000J for guitar tracks and like the sound very much.
That’s a good choice!
Yes, do a video on EQing acoustic guitars
Great informative video, Plugin Alliance lindell 80 ( Neve style channel strip) followed by 12.5k LP filter by any digital eq is my go to for electric guitars.
This is brilliant! Thanks, Sara!
You're so welcome!
I’ve been watching along with this series and it has really helped me clarify an intention-driven method for EQing. I really like your simple, methodical teaching style. Looking forward to continuing to watch what’s next!
The one thing that strikes me in watching these really productive videos, something you hadn't covered in the past, is the channel naming conventions you use. This one I think necessitated the question about your conventions about track labelling. I know it's not strictly a craft question but IMO an important element to mixing.
PS on another note, from my thought bubble on the cursor observation,,,, this is better!!
Great point!
@@SaraCarterSimplyMixing Droll!
Your videos are really analytical and your explanations are extremely clear and concise, and the presentation is personable and professional. A great alternative to many of the other TH-cam channels. 🙂🙂🙂
Thank you! I'm glad you like them
I was lost EQ'ing my guitar. Not anymore! Thanks for all the great info.
Glad to help!
Saw you for the first time today, I was the beneficiary of the TH-cam algorithm placing you in my list. I loved the video I look forward to past and future posts 🙏🏼
Awesome! Thank you!
Hi Sara, thanks for this series, it’s very inspiring. As so many others I would also be interested in your take on acoustic guitars and especially how to mix them together with electric guitars to keep separation, but still create a big unified guitar sound if that makes sense.
Great suggestion!
Thanks again Sara for another great video. It would be awesome if you could cover acoustic guitars next. Both nylon & steel string if possible!
Great suggestion!
Yes, definitely acoustic EQ episode. Thanks!
Noted!
Fantastic series Sara ! Funny intro!!
Thank you!! 😁
Thanks so much!! These go-to frequencies really improved the sound of my hard rock guitars in my mix. 👍👍👍✌
First, I dialed in a beefy distortion with Amplitube 5 on two DI'd guitar tracks that I panned L and R and sent to a group bus. Then I implemented your tips using the Waves F6 Dynamic EQ on the bus. I got a big sound that sits well even with just the 2 tracks. I might try sticking on a CLA MixHub or a Waves E-Channel next and see about those 3-D space enabling harmonics you mentioned but I'm pretty impressed with what I've got so far. The Q3 is a bit pricey for me yet but someday...
That’s great!
This is it! Less is more....! I love to keep the original sound of the waveform as much as possible ( if the quality is okay) .Your vids are great Sara. Thank you very much 👍🏼
Glad you like them!
I totally appreciate the simplicity in your approach when preparing to process audio. I love your channel! 👏🏾👏🏾👏🏾🔥🔥🔥🤮🔥🔥🔥🖖🏾
Thank you!
This is a great watch. We know the method but it's cool to see and hear how different people apply it. Especially on heavy and overly thick rhythm tracks/ groups. Thanks for sharing
Glad you enjoyed it!
For that kind of lax rhythm, hh groove, I almost feel like the guitars need to be thinner, almost like a Lofi/band passed, telephonic fuzz. Think Muse. That’s more of a production\arrangement choice I suppose, but thick, heavy guitars are almost too imposing during this section for my taste-particularly because it’s a verse section. But that’s just my opinion.
Sara, these videos have significantly helped me to improve my mixes, hands down. Your channel is absolute gold in the mine that is TH-cam. If you have some time, or the desire, I would love to see a video on reverb, understanding reverb parameters, and how to use reverb to create separation, sit instruments in a mix or add ambience to the mix. That would be really great. Thanks again for the real quality content you are uploading here on TH-cam! I, for one, appreciate it! Cheerio!
Great to hear! Thanks for those great suggestions 👍
The time you take… sorry you offer to explain is great. Thank you.
You are welcome!
Again, another great video. I'd suggest maybe a different topic, but I'd like to see your approach to choirs. Could be simple ones: three to five voices or a hundred people singing together.
Noted, although I don't see a lot of choirs!
Hey Sara I just wanted to say thank you sincerely for these videos. I love your vision and you’re a great teacher. I am a pianist and guitarist. The piano tutorial was amazing, and I’m looking forward to getting in the studio to give a shot as to what you recommend. Go yersel and again massive thanks - cheers, Ally
You're welcome, thanks for watching!
Thanks for sharing all your knowledge and experience with us - a fantastic and generous resource.
A thought for a future episode: how about covering your favourite free plugins?
Good idea! What are your favourites?
@SaraCarterSimplyMixing
MEqualizer - Melda Audio Production
Sete Cave - Audio Fusion Bureau
Feedback Compressor II - Tokyo Dawn Labs
Colour EQ - DDMF
Nova - TDR
Molotov- TDR
IVGI - Klanghelm
Vocal Doubler - Izotope
SPAN - Voxengo
LALA - Analog Obsession
Frank v2 - Analog Obsession
CHANNELV - (AO again!)
BritBundle - (yup, AO yet again!)
Super Massive - Valhalla
It's definitely worth checking out the MFreeFXBundle by Melda Production. 37 free effects, and £42 to unlock all the features.
Hope this helps!
This was so enjoyable to watch🍿, I really dig your method and your style of explanation-helpful indeed! I love that you busted out the Kramer and ohhhh that Trident, I used to have it-you’ve might’ve made me decide to get it again, I LOOOOVE it’s 10 and 12k boost🤩!!
I do have a question if you get the time at all: Is there anything you’d do differently in the case of having one clean fingerpicked electric with a soft airy female vocal? I get into sticky situations in the slightest attempts to compensate for no bass guitar being around, and even when I leave that much alone, I can’t quite achieve the desired clarity. Saturation does good things…but still…. Perhaps it’s the flat wound strings, or the P-90 pick-ups, although they’re a sweet brighter kind….Maybe that Trident’s got the love it needs😏, haha. But if you have ANY hunches off the top of your head, they’d be greatly appreciated. 🧡🎛️✨ Either way, thanks for the cool video! I’ll be checking out more. Subscribed💫😎
this mix sounds so good. you are a true pro
I watched a few of your videos and loved your demure demeanor and lilty voice, and Sage wisdom, of course. I did not know that you would be able to help me with a hard rock song that I was working on, but you were! Thanks!
You are so welcome
Can you do one on acoustic guitar and overheads
Would love to see a video on acoustic guitars please Sara!!
It’s on the list!
If you do a video on acoustic guitars, I'd love to hear about how their role in the song changes your approach to EQ. How would you EQ the acoustic guitar for a singer-songwriter record where acoustic guitar is one of the main instruments? How would you EQ an acoustic guitar in a fleshed out rock song where there are many more instruments competing for attention? Loving this series by the way!
Always inspiring. Good job. Acoustic Is welcome too, and the space for them with Electric and keys.
Good call!
Electric guitars for me are the most fun. I always request a clean DI recording with any guitar tracks cos its useful to be able to add in any IR/emulation/effects you think works when your layering tracks and layering is critical for perfect guitar tracks.
DI tracks have got me out of a hole once or twice!
Please do acoustic guitars and thank you so much for this. A little ways through and enjoying it so far.
Noted!
So great, as usual. +1 for acoustics!
Thanks a lot!
Great video as always. Would love one for Acoustics!
Noted!
Cramer HLS PI for guitars is news to me. Gonna try it out. Thanks!
Ok, thanks!
I prefer the way, first to hear euch Guitar unfiltered. And the I look for prefer Frequency, go through the Band with a parametric EQ +6db. Looking for 2-3 good frequency Area. Then I first create the Bass guitar. And put all other Frequencies down, which I haven’t prefer. Then I look for guitars who in the same frequency Area. And decide in which frequency Area I want to work. Then I only look for example only the two guitars and locking for harmonica this pair. And so I configure further. After it I can make the sound clearly with compressor.
I always found using a roll off on the high end makes for a more detailed and real speaker sound. Unfortunately using close mics on cabs seem to add sparkle and fizz. These also can sound very harsh. I roll of the low end to help the bass and high end to make a real guitar sound so it's like it's coming out of the amp. I find you can cut as far as 5k or more for dark guitars.
Sounds good to me!
my new fav channel
Great video, I really like your attention to detail.
Thank you very much!
One thing I often do when I boost 1.5k, if necessary, Is to use Neutron 4 Unmask with lead vcls, so I can set Gtrs up as needed but find space for vcls when it's their momento to Shine.
Good tip!
Thank you very much for your work Sara. Great channel 👍👍
Glad you enjoy it!
Thank you for these videos! It's my new favorite thing on TH-cam. You are very interesting to listen to.
Wow, thank you!
You make some of the best videos on youtube, but I also have to say this song kicks major ass. Some good oldschool Clutch/Orange Goblin vibes!
Haha! Thanks though
Yes and Thank you on acoustic. And please too.
Thanks!
I struggle with rock guitars more than any other instrument. I especially struggle with palm-muted parts. If I keep them as low gain as I want them, I feel like the transients are out of control. But if I crank the gain to tame the transients, I lose all definition. I work with amp sims, so I don't know if that has anything to do with it. I've had some success using a fast attack compressor to really grab the transients, and I've had some success using tape saturation. But they still always end up sounding a little "plonky." That's the best way I can think to describe it. It's like the horrible sound of DI guitar transients is still coming through too strong.
Yeah, working with sims is tricky. The most "plug & play" ones for me have been from UAD and Nembrini.
*I’m always mixing guitars loud in my mixes but I think it’s because I’m blending them with synth sounds. However… my method is using only the high frequencies of the guitars double tracked and using the horn synth to fill the mids. Sounds cool but I’m only experimenting now. Thank you for this video!*
That's sounds like an interesting approach, for sure!
@@SaraCarterSimplyMixing I think so but sometimes, I wrote mellower songs that I want the guitar to be heard even if I have added a cool bass groove. But yeah.. this video was seriously helpful.
awesome video, I learnt a ton, thank you! first time seeing your channel, I love how you teach :)
I'm so glad! Thanks
Very good sara 🎉
Thank you
Awesome - thank you Sara!
Glad you liked it!
I’m listening to this as a person learning to play guitar. I’m learning about recording EQ, because it helps with live EQ as I play
I have some ideas I’ve put together and wonder what your thoughts are.
Speakers and amplifiers have their own EQ profiles, and if I understand correctly, IRs and amp sims are EQ curves specific to that cabinet, driver, preamp, etc.
Assuming this, a super high fidelity white box amp sim recorded direct would produce a wider range of frequencies than a physical amp.
I turn down specific frequencies to cut them out of the sound I’m playing when using digital reproductions.
Is this crazy?
I don’t like the area of 2k to 5k so I dim it to make my overdriven tones sounding less harsh and less fizzy .. but I do it since the start on my pedalboard.. than I check it if it doesn’t sound moody in a busy mix so generally I’m treating the area between 90hz-500hz
Sounds good to me
@@SaraCarterSimplyMixing yeah actually the guitars sit well without pushing the faders than I add some High mid frequencies to cut through if it sounds like a cloud of sound without definition. 1 or 2db with a narrow Q and nail it. What I struggle to make it sound with a good definition is the bass mostly .. as my songs holds at least 40 to 50 tracks .. 10 tracks at once sometimes.. making the bass keeping all its tone is quite hard and tricky !
TH-cam did indeed shove you under my nose a couple of days ago and I’ve been watching a lot!
Thanks TH-cam!
Hey Sara, what is your camera/lighting/mic setup for recording these? It's top notch and makes me want a similar setup for my day job!
Hi, to one one of my fave online instructors! Question here: I just started working with dynamic EQ with guitars and vocals and sidechained them since Pro Q3 also offers external sidechaining now. Is there a an advantage to that over simply doing the subtractive technique?
These guitars sound like they are overpowering everything else in the mix. Yes they sound bright and clear but they’ve just eaten up so much midrange I’m struggling to hear the drums and I’m not sure where the vocal sits there?
Hey Sara. I know you're talking here in post-production; but as a guitarist, can I uses the same principles you teach with the 10-band EQ on my pedalboard, to achieve the same result and free up frequencies for the bass and vocals live? I hope you understand my question 😕and thanks for the great lesson.
Great video I’ve already completed your full mixing essentials course EQ, compression and FX and it’s completely transformed my mixes. Night and day. So much info I find myself always going back to them as it’s so in depth but I still enjoy these videos also as there’s always a little bit here and there you can take from new content. You rock Sara!
Awesome, thank you!
Sara, do you know the lo bump trick for thin guitars using the helios design? Just flick in the lo freq. to 60 without applying any boost. It can bring the lo end forward ever so gently.
Yes, I do. It's a great trick
Acoustic- yes, please!
Thanks Sara yeah WE like that vidéo on acoustic guitar😊😊
OK, thanks!
3.1 khz, not necesserely dislike, but it seems its make it or brake it freq on distorted guitars, and the 200hz dyn eq i'd usually set the treshold to "polish" the palm mutes.
Yes, I use a multiband at 200Hz a lot for that type of control. Thanks for watching!
Sara.. have you tried the Plugin Alliance Helios channel strip? I wonder if that has the same thing you get with the Waves HLS?
No, I don’t think I have. I use the UAD one from time to time on guitar but it sounds different to the Waves.
If I don’t have speakers what are good headphones to do this kind of work with?
I’m asking because I’m honesty using this information to mix live inside of a church. I strongly believe that every instrument should sound good no matter what and that later you can do things to your pa and do some sound treatment to help make the room sound better. Because every time I come here and I try something it works.
I understand other people are learning and they’ll change things and that’s okay for me because I’d rather someone learn than stay stagnant not trying to see what things sound like. But at least when I mix I can give my best thanks to you and many others
Mixing inside a church would require closed back headphones unless you are in a separate room, then you could use open backed. Open backed are better for mixing but if you have to go closed back, I'd look into combining them with something like Sonarworks to get a balanced sound. DT770 Pro's are good closed backs. Good open backs are the new HD490 Pro
Your content gold Sara. Thank you.
So much wisdom packed into this one video.
You're so welcome!
Really useful, thank you.
Here's a thought: How about the musician applying these techniques themselves?
I use an Axe FX3 modeller and with the flexibility that you have for cutting and boosting across the frequency spectrum across the whole preset including a good PEQ,. means that you can sculpt your tone before it gets recorded, meaning less correction work at the mixing stage.
Might do you out of a job though!
Great comment! You should always strive to get the best tone on tape but sometimes you have to sculpt with EQ so it fits into the rest of the instrumentation, whilst you try to shove it all through your stereo mix bus!
@@SaraCarterSimplyMixing Although opinions may vary on what a good rock based mix should be.
For me one of the best rock recordings ever has to be the debut RATM album.
The bass and guitars don't get in each other's way and the drum mix is clean.
This must have had been EQ'd very well.
Man there's so much string bleed on those guitar tracks. That inexplicable combo of recording at low volume while standing or sitting right next to the microphone always boggles my mind.
Thank ypu ❤❤❤
You're welcome 😊
The biggest problem I have with EQing guitars is that I like accentuating that lovely scratchy, punchy, string transient sound around the 1.2k - 2k region. For something in between alt rock and indie. And that's exactly the area that you want the vocals sitting in. And it also sounds good on the bass...
Is it just a matter of prioritising, and you have to sacrifice one so that others may live? Or is there a way to keep that guitar punch without masking vox and voice versa?
Panning the guitars away from centre will mean you will avoid the masking, if it occurs.
@@SaraCarterSimplyMixingBut panning the guitars to the sides doesn‘t help when the mix is collapsed to mono, does it?
Love your public videos Sara. How do they differ to your paid masterclass?
Similar in style but the masterclass is start to finish mixing covering multiple processes and my full methodology in a step by step format over 11.5hrs. I just do isolated topics on TH-cam
@@SaraCarterSimplyMixing excellent! I look forward to watching and learning from your masterclass 🙏
Great! @@user-gq1cr9ev5c
Your voice is really suited to accidental ASMR very soothing 🙂
thank you!
@@SaraCarterSimplyMixing welcome ☺
Hey Sara...Still didn't watch....but just want to THANK before indulging 🤓👍👍👍🥇
Enjoy!
No Low Pass Filter? Why?
You rule!
Thanks Jason!
@@SaraCarterSimplyMixing nope! Thank you!
Apakah seorang master/pro bisa kelelahan telinga juga? Saya seorang pemula yang sering merasa telinga saya lelah ketika mixing dan kehilangan arah 😢
Yes, everyone gets ear fatigue and it's important to take breaks often. I think "pros" recognise it sooner and stop whereas "non-pros" keep pushing on.
Sounds like a Joe Bonamassa tone.👍
Sounds cool!