- 7 Sections
- 42 Lessons
- 10 Weeks
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- Module 1: The Sub-Bass Foundation (20 Hz – 60 Hz)6
- 1.1Physics of Infrasonic Energy and Room Mode Identification
- 1.2Calibrating Your Monitoring System for Accurate Sub-Bass Translation
- 1.3Surgical Equalization Techniques for Cleaning Up Kick Drums and Bass Synths
- 1.4Utilizing Multiband Compression to Tighten Low-End Consistency
- 1.5Analyzing the Case Study Project: Identifying Phase Cancellation in the Sub-Range
- 1.6Practical Exercise: Sidechain Compression Calibration for Sub-Bass Lockdown
- Module 2: The Bass and Power Region (60 Hz – 250 Hz)6
- 2.1Understanding Fundamental Frequencies of Rhythm Sections
- 2.2Balancing the Kick-to-Bass Relationship to Prevent Masking
- 2.3The Role of High-Pass Filtering and Gentle Low-Shelf EQ Curves
- 2.4Managing Boomy Resonances in Vocals and Guitars with Dynamic EQ
- 2.5Advanced Phase Alignment Techniques for Multi-Mic Drum Kits
- 2.6Practical Exercise: Sculpting Harmonic Depth in the Case Study’s Bassline
- Module 3: The Low-Mid Body and Warmth (250 Hz – 500 Hz)6
- 3.1dentifying the “Mud” Frequency and Strategies for Clarity
- 3.2Balancing Fundamental Body against Instrument Weight
- 3.3Strategic Subtracting EQ to Create Space for Lead Elements
- 3.4Saturation and Harmonic Exciter Application for Low-Mid Density
- 3.5Implementing Mid-Side Processing to Control Center-Weighted Clutter
- 3.6Practical Exercise: Cleaning the “Mud” from the Case Study’s Rhythm Section
- Module 4: The Mid-Range Presence (500 Hz – 2 kHz)6
- 4.1Human Psychoacoustics and the Fletcher-Munson Curve Implications
- 4.2Managing Harmonic Content in Guitars, Keys, and Vocals
- 4.3Identifying and Correcting Harsh Boxy Resonances
- 4.4The Art of Additive EQ to Enhance Instrument Character
- 4.5Balancing Transient Response versus Sustained Tone in the Mid-Range
- 4.6Practical Exercise: Restoring Presence to the Case Study’s Vocal Performance
- Module 5: The Upper-Mid Definition and Attack (2 kHz – 4 kHz)6
- 6.1The Sensitivity of the Human Ear to Upper-Mid Frequencies
- 6.2Carving Space for Vocal Intelligibility and Lyric Definition
- 6.3Controlling Sibilance via Frequency-Dependent De-Essing
- 6.4Balancing Attack Transients in Percussive Elements and Snare Hits
- 6.5The Impact of Phase Shift and EQ Curves on Harmonic Texture
- 6.6Practical Exercise: Enhancing Lyric Clarity in the Case Study Mix
- Module 6: The Presence and High-End Detail (4 kHz – 6 kHz)6
- 7.1Defining the “Presence” Range and Psychoacoustic Perception
- 7.2Applying Gentle Boosts to Emphasize Edge and Aggression
- 7.3Managing Harshness and Metalic Ringing in Acoustic Instruments
- 7.4Using Parallel Compression to Enhance High-End Texture
- 7.5Advanced Techniques for Bringing Elements Forward in the Soundstage
- 7.6Practical Exercise: Balancing the Presence of Lead Instruments in the Case Study
- Module 7: The Brilliance and Air (6 kHz – 20 kHz)6
- 8.1Practical Exercise: Adding Final Air and Spatial Depth to the Case Study Mix
- 8.2Advanced De-Essing and Compression for High-Frequency Control
- 8.3The Role of High-Shelf Shelving and Natural Air
- 8.4Managing High-Frequency Fatigue and Digital Harshness
- 8.5The Application of Exciter Plugins and Tape Emulation for Silkiness
- 8.6Finalizing the Master Bus Frequency Response for Professional Translation