Ima be real with you boss, I'm turning up that bass boost. Idc if the artist wanted it that way or not. They didn't make the song a higher BPM, but I'm playing it faster anyway. Im tryna make people dance here
On the old djm-900nxs1st gen there was, guess accidentially, a special kind of slightly even-odd-even harmonic distortion within the resonances if you had the bands on isolater mode…with many possible combinations, only occuring at certain levels of boost while the channels meter is going to -3~-0.5dB… after we found out about that and routed the output trough an analyzer, showing the fft spectrum to have visual confirmation and values to work with, the whole UG bülach warehouse producer gang started to test new tracks fully unmastered on that legendary PA in this club. It added some flavour besides gain, it wasn't like boosting peaks because the resonance gaps got filled up with those harmonics, which gave it the typical UG sound… some of the tracks always sounded better live and untouched compared to the professional mastered versions ???? Also, some of us simulated that kind of behaviour with pulteqs and multiband sats like saturn to have that typical sound within the mix after the club has shut its doors after some years.. BUT THIS WAS THE ONLY EXCEPTION TBH! For professional mastered tracks of some established pro artists, this video is 100% right! It's just for mixing and there is always a reason why, for example, a bassline is going up to like 2kHz with a thin kick and a cutoff at 65Hz in the lowend. It might sound weird on the stage with a cheap monitoring pa setup, but trust me, those tracks work well on the dancefloor and there is no need for a "bass boost" – you'd mess up the producers/engineers/mastering wizards intended spectral balance of such a track. They know what they are doing and the big names engineers are trained to come up with the perfect results for large a.. line arrays on which 90% of the DJs sadly never got to play on… oc they work well in the clubs too, but that's not the main focus of commercial dance music anymore. Same rules apply for underground scenes tho, you don't want to mess up the punch-transient balance of that hardtechno banger the whole basement wants to dance to after you teased it during a transition.
Also, always keep an eye on having dominant elements like hats & rides in only one of the tracks while mixing, it also helps to mix after the camelot wheel, especially if both tracks are in the same key you can get extremely creative with the mids by making space on one of the tracks.. also bass-swaps sound way better. Always stick to those rules and it will leave people thinking that you are producing on stage or playing a remix of something they know, when in reality it's just a good transition ????
I'm not a pro but immediately thought this doesn't make sense at all then went to the comments to make sure I'm not alone. my problem is not that you are wrong because we all can be wrong sometimes but man the way you brought this with such confidence is scary. apparently so many people believe they can teach something because they know it but just because you know something doesn't mean you can teach it with such confidence. if I were you, I would probably review everything I think I know.
I only once found boosting the mids to be useful. That was when I was playling like 3 or 4 tracks at various levels, and wanted the vocals to come over (lows cut). Maybe I could have lowered the other volume, but then the base went too soft.
I am a junior, so still just observations on my own experiements.
Bad advice and really bad reasoning to support it. "The producer wanted…", "It isn't up to you to…". Screw all that. That's more of an ethical, authoritarian argument and has nothing to do with sound or aesthetics or technique. Get your ears trained, listen to what you're doing! Record your mixes and listen back to them. If it sounds good it is good. It's your mix!
There are pros and cons to the subject matter of this video and the comments made put it short do what's best for yourself and your crowd your plan for and the system that you're playing on. If you know what you're doing, it's going to sound good anyway, no matter how you E.Q. your mix
The EQ on the channel strip is meant for cutting and boosting. A no boost recommendation is much better for the house EQ. By cutting certain problem frequencies you can reduce feedback and give more headroom to your entire system. There is nothing wrong with boosting on the channel eq, if it is needed.
You can forsure boost the Eq of whatever you want as long as it's done in a not cheesy way ???? if you're playing on professional sound systems it helps ???? video is dumb
A lot of misinformation here (in comments) by cutting instead of boosting you leave headroom. Just cut what you dont want to boost and it achieves the same effect as boosting the frequency range you want more empasis in while maintaining a cleaner signal (equalizing uses voltage, and when boosting is over utilized it can introduce clipping and distortion).
Never boost? The artist wanted? The artist isn’t a mix engineer The artist isn’t responsible for your listening environment and speaker setup. The lows You hear and what the artists heard in the studio could be vastly different Once you buy a piece of music it’s yours to play it however tf you like
Bad advice. Using the mid eq and boosting is essential if you're long mixing something like techno or house and want to keep certain elements of the track audible over the track you're blending in
Only Low and maybe a little on mids, but the space of the high frequencies are completely modificable, obviously with caution because the human ear cannot filter high frequencies well
I will usually use the eq to "sculpt." If I think the artist doesn't have enough high end in the track, I don't mind boosting it. Or sometimes, I will boost eq to bring out the hi hats or to emphasize a part of the track I like, usually vocals. In fact, many of those artists don't eq vocals correctly and they are a bit muddy or a bit low, when they should shine and be the focal point.
Once you begin fucking with all the buttons turning them up and down while your listening to the sound and adjusting shit to how you think it sounds good. You can only get better by fucking up.sorry for my french.
Actually this is really good advice,by doing this not only you're mixing,but if used correctly,it prevents your speakers from getting damaged.I know you guys won't agree with me(it's ok if you guys hate me for this comment) but try it out.
All of you people adamantly disagreeing. One he is talking to beginners. There are times you might boost a frequency for an acapella or a bass line. But in general. If you need more bass, you need to adjust that on an EXTERNAL MIXER. Boosting on your dj controller should only be done in an advanced technique where you are using two songs that are mastered extremely differently. But again. This is for beginners. And it's a good beginner tip so djs try to use the eq knobs like you would on an EXTERNAL…FREAKIN…MIXER!
Yall think you're owning this guy but really most yall sound dumber…
Fill out this form to apply to work with me to make pro music and grow a global fanbase ???? philharrismusic.com/upgrade
Another reason why you should never listen to random people on the internet
Never use these to boost frequencies??? ????????
Please how can I use them as stem ? Drums vocal instrument
Ima be real with you boss, I'm turning up that bass boost. Idc if the artist wanted it that way or not. They didn't make the song a higher BPM, but I'm playing it faster anyway. Im tryna make people dance here
On the old djm-900nxs1st gen there was, guess accidentially, a special kind of slightly even-odd-even harmonic distortion within the resonances if you had the bands on isolater mode…with many possible combinations, only occuring at certain levels of boost while the channels meter is going to -3~-0.5dB… after we found out about that and routed the output trough an analyzer, showing the fft spectrum to have visual confirmation and values to work with, the whole UG bülach warehouse producer gang started to test new tracks fully unmastered on that legendary PA in this club. It added some flavour besides gain, it wasn't like boosting peaks because the resonance gaps got filled up with those harmonics, which gave it the typical UG sound… some of the tracks always sounded better live and untouched compared to the professional mastered versions ???? Also, some of us simulated that kind of behaviour with pulteqs and multiband sats like saturn to have that typical sound within the mix after the club has shut its doors after some years.. BUT THIS WAS THE ONLY EXCEPTION TBH!
For professional mastered tracks of some established pro artists, this video is 100% right! It's just for mixing and there is always a reason why, for example, a bassline is going up to like 2kHz with a thin kick and a cutoff at 65Hz in the lowend. It might sound weird on the stage with a cheap monitoring pa setup, but trust me, those tracks work well on the dancefloor and there is no need for a "bass boost" – you'd mess up the producers/engineers/mastering wizards intended spectral balance of such a track. They know what they are doing and the big names engineers are trained to come up with the perfect results for large a.. line arrays on which 90% of the DJs sadly never got to play on… oc they work well in the clubs too, but that's not the main focus of commercial dance music anymore. Same rules apply for underground scenes tho, you don't want to mess up the punch-transient balance of that hardtechno banger the whole basement wants to dance to after you teased it during a transition.
Also, always keep an eye on having dominant elements like hats & rides in only one of the tracks while mixing, it also helps to mix after the camelot wheel, especially if both tracks are in the same key you can get extremely creative with the mids by making space on one of the tracks.. also bass-swaps sound way better. Always stick to those rules and it will leave people thinking that you are producing on stage or playing a remix of something they know, when in reality it's just a good transition ????
I'm not a pro but immediately thought this doesn't make sense at all then went to the comments to make sure I'm not alone. my problem is not that you are wrong because we all can be wrong sometimes but man the way you brought this with such confidence is scary. apparently so many people believe they can teach something because they know it but just because you know something doesn't mean you can teach it with such confidence. if I were you, I would probably review everything I think I know.
Knob goes both ways, you turn it both ways. Stop playin.
once again, terrible advice from this guy. why do i keep seeing these youtube
Good rule of thumb if you don’t understand gain staging. Otherwise feel free to push whatever isn’t being clipped.
I like to slightly boost mids for to emphasize vocals. Just enough for the vocals to cut through my mix
LOL!
Horrible advice but advice none the less
I only once found boosting the mids to be useful. That was when I was playling like 3 or 4 tracks at various levels, and wanted the vocals to come over (lows cut). Maybe I could have lowered the other volume, but then the base went too soft.
I am a junior, so still just observations on my own experiements.
If they’re not meant to boost or cut why where they created lmao. That’s what there for
What about vocals
Bad advice and really bad reasoning to support it. "The producer wanted…", "It isn't up to you to…". Screw all that. That's more of an ethical, authoritarian argument and has nothing to do with sound or aesthetics or technique. Get your ears trained, listen to what you're doing! Record your mixes and listen back to them. If it sounds good it is good. It's your mix!
There are pros and cons to the subject matter of this video and the comments made put it short do what's best for yourself and your crowd your plan for and the system that you're playing on. If you know what you're doing, it's going to sound good anyway, no matter how you E.Q. your mix
The EQ on the channel strip is meant for cutting and boosting. A no boost recommendation is much better for the house EQ. By cutting certain problem frequencies you can reduce feedback and give more headroom to your entire system. There is nothing wrong with boosting on the channel eq, if it is needed.
You can forsure boost the Eq of whatever you want as long as it's done in a not cheesy way ???? if you're playing on professional sound systems it helps ???? video is dumb
A lot of misinformation here (in comments) by cutting instead of boosting you leave headroom. Just cut what you dont want to boost and it achieves the same effect as boosting the frequency range you want more empasis in while maintaining a cleaner signal (equalizing uses voltage, and when boosting is over utilized it can introduce clipping and distortion).
Magkano po sir maam
Oh wow .. I had no idea thanks so much …
Never boost?
The artist wanted?
The artist isn’t a mix engineer
The artist isn’t responsible for your listening environment and speaker setup. The lows You hear and what the artists heard in the studio could be vastly different
Once you buy a piece of music it’s yours to play it however tf you like
Yh pioneer etc just made a +side iof each the eq knob for fun and total giggles
What utter horse s h i t advice.
Bad advice. Using the mid eq and boosting is essential if you're long mixing something like techno or house and want to keep certain elements of the track audible over the track you're blending in
Boost it baby!!
Only Low and maybe a little on mids, but the space of the high frequencies are completely modificable, obviously with caution because the human ear cannot filter high frequencies well
I will usually use the eq to "sculpt." If I think the artist doesn't have enough high end in the track, I don't mind boosting it. Or sometimes, I will boost eq to bring out the hi hats or to emphasize a part of the track I like, usually vocals.
In fact, many of those artists don't eq vocals correctly and they are a bit muddy or a bit low, when they should shine and be the focal point.
Once you begin fucking with all the buttons turning them up and down while your listening to the sound and adjusting shit to how you think it sounds good. You can only get better by fucking up.sorry for my french.
Fck all that just play the music. Track selection is the main thing. Party goers don’t care about knob twiddling.
I like boosting the bass lol
Actually this is really good advice,by doing this not only you're mixing,but if used correctly,it prevents your speakers from getting damaged.I know you guys won't agree with me(it's ok if you guys hate me for this comment) but try it out.
Wait what? ????
Low press (Bad sound) vinyls are a pain for quality if your mixing UKG, I always use the gain for volume control.
Sometimes I don’t like how the track was mastered. I’ll add/take away lows and highs all the time if I feel like it’s lacking.
What if I use the EQ's to boost an acapella for a live mashup??
Worst advice
Na boost that ho
It is not a “volume control” for different portions. It adjusts the gains within the passband of the designated frequency range allocated to each knob
All of you people adamantly disagreeing. One he is talking to beginners. There are times you might boost a frequency for an acapella or a bass line. But in general. If you need more bass, you need to adjust that on an EXTERNAL MIXER. Boosting on your dj controller should only be done in an advanced technique where you are using two songs that are mastered extremely differently. But again. This is for beginners. And it's a good beginner tip so djs try to use the eq knobs like you would on an EXTERNAL…FREAKIN…MIXER!
Yall think you're owning this guy but really most yall sound dumber…
I'm gonna buy ddj 400 i hope It'll worth it.