How to EQ – Basic Way – Learn More – Become Professional Using Parametric EQ 2

Some of our students struggled with EQ and what to equalize right; somehow, they don’t understand how to EQ the most rightfully way. There’s a simple rule, normalize or reduce high-density peaks to lower levels. Such a procedure can level the sounds and even remove quality bad levels. EQ is about removing or adding a vibe to a sound or an instrument. With Parametric EQ 2, you do it like this:

So perhaps you see here that we’ve reduced the density problem of the sound. You might want to reduce these levels to lower levels. You see above that the spike is redder and not that much purple. Thus this level has been reduced to a more precise level of the sound, and it will allow for other more precious frequencies to be available to the listener, such way you might hear a much richer sound.

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That, by the way, by adding Maximus on master and monitoring your track with Maximus you can have a single Maximus loaded on the master channel for that process. Look into the HIGH channel and see what levels are played at a higher frequency and volume higher than -12dB, so often, we recommend equalizing down these levels rather than just reducing the volume of the sound.

Learn how to do mastering with Maximus:
How to make that analog master with Maximus

EQ’uing is to reduce the density of your sound; it will most often become more pleasant to listen to and give an absolute better value to the work of your track. And equalizing is usually a reduced way to think about what is essential for your track. Most do not equalize and some make several problems using equalization. So often, you might want to work on your skills towards equalization; it’s not only monitoring that is essential.

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Remember, there are always ways to reduce your overall sound and to make it dynamic; the whole tutorial on how to make your track more dynamic than compressed is here:
How would professionals do mixing and mastering? It’s all about Dynamics!

Sometimes you have density with even toms and claps and also snares to even hihats. Sometimes reducing the densest levels in these cymbals would be more pleasant to listen to. So the first rule is to rule out the problem, the second is to hear it, and then the third is to measure it.

The above tutorial with the link tries to recommend levels of 4000Hz+ to be as low as -12dB at maximum, and that truly is a remarkable difference to many. Still, these levels are absolute; they can’t be forced higher if you want the right-sounding track on nearly everything, from earbuds to phones to even car audio. These levels should at least be under -12db at the highest possible, even for most tracks. Higher concentration levels can cause diffusion and sound problems to many tracks, and the levels sometimes also don’t need to be yet -18dB at most, since -12dB is spoken as of highest. The more you focus, having this sound underneath -12dB from the specific frequency range, your music will likely sound far better.

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To many, I believe this applies nearly perfectly.

If you want things done? Well, try it yourself. Success doesn’t come unless you work for it.

Most here usually dump themself being the ones out there because they are too lazy about nearly everything. But if you follow up on other’s advice, then work hard to achieve the best state of art music. It takes more accomplishment than being lazy and never getting things done unless you are on the weed all the time, then I understand. But most work, but do not improve their techniques; they often do what others tell them to do. But the day you work for the big success of the dream to make the hits and tracks needed will come true. There is still open room for anyone in this group to take their asses done by themself.

My most important rule to this is doing it all by yourself, do try out 1 million times changing all types of procedures to your work, and then you’ll learn at least some of these grand techniques even most would dare to have on the very first day. Working 10 million times a month would make you further than many.

It even would be like putting your ass into work, maybe as perhaps creating 100 new presets to Sytrus today, or tomorrow? Making your darn presets and never complaining wasn’t even the learning experience trying it out? Unique music-making is always needed for producers; those who use Nexus and Hypersonic never tend to get out okay, I mean. they lazy out the track and even more.

EQ your darn sounds, don’t lazy it!…
But in the end, you honestly read it all; We recommend you look at other tutorials about FL Studio Parametric EQ 2 around the net; there are plenty on YouTube. You might want to learn different available techniques, but they often don’t teach you to reduce harmful sounds and usually density. However, this tutorial most likely would fade you upon the right solution.

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And the end is always the best, what to do with the equalized levels? Well to increase gain so that your sound will perform at the volume height you want, you will have to use a compressor, add a compressor, and only use the gain, don’t use other options than gain especially if you don’t hear a difference and you know it’s not hitting max to 0dB, then using a compressor gain is all you need. Most are afraid of the option, most even don’t know that you can gain with a compressor. So that is all done with several compressors on each track in their respective mixer unit.

You might as well know that hitting above 0dB on any sound, you might end up with problems for several mixer unit plugins, so know that an analog clipping limiter would reduce heights above 0dB, thus then you can have no distortion that way, and then you can allow the plugin underneath not making distortion to sound. Specific plugins such as SPITFISH “deesser” need to have under 0dB levels unless it will hard clip the sound, thus making distortion.

Have you ever used to put a vibe on your track? Well, equalize upwards on the Parametric EQ 2, adding more power to lower-level frequencies and thus making them far more interesting for your listeners. A specific addition is to use either a small range of chosen frequencies or quite a lower range and a smaller performance of perhaps your bass at 550Hz to make it more pleasant on phones. Supposedly this to make sound with a certain vibe surely makes sound more professional but more interesting, and the actual vibe can perhaps be your piano, as the levels above 2000Hz can truly make a difference in sound and vibe.

Equalizing your track proportion with a small range with upwards equalization that makes a bell sound when moved across the territory of all frequencies and then if you reverse the direction to the opposite you can sometimes with perhaps vocals be able to reduce the worst sounding frequencies, it’s used to monitor the worst ones while reducing the same frequency range, as specific the smallest ever range of frequencies, that way your vocals might sound quite better for most listeners, adding about 2-3 of these parametric Eq’s you make room for the better-sounding frequencies.