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Studio Pass with Tommy Rogers and Jamie King

Lesson 29 of 32

Mixing with EQ Processing

Tommy Rogers, Jamie King

Studio Pass with Tommy Rogers and Jamie King

Tommy Rogers, Jamie King

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Lesson Info

29. Mixing with EQ Processing

Lesson Info

Mixing with EQ Processing

This is a whole different kid hold different player than so these the accused that I had going for the other record probably won't work that sounds pretty good, but um when a couple things I want to talk about its force accused concerned is ah, you know concept I call offending frequencies on dh that's ah, you know, just basically like selma got some general general shapes happening as faras drums and may easiest heard on snare here is a snare with you quite boxing there's without the low cut a lot of people believe a lot of bloody low win we'll get rid of that the high end it takes away some of the chris penis or whatever but I said this is you know what I wanted to rock kind of ah, but so I just two leaving in like the wave starts to come up with one hundred yeah and then speaks at yeah admitted the mid range could they let's see usually with my mid range could like said you know, if you look at all my drums this is pretty typical there's almost always a could around five hundred or ...

seven fifty somewhere in the mid justcause the drums acoustically sound boxy same deal with the tom's over here slightly different but like said there's almost no rules in terms of like it depends on if you use a drum with bird shells burge has less natural mid range so you don't have to cut is much for snare metal snare drum some the brass snare drums have a little more mid range and steel you know, maple snare drum will have a different you know, and it depends on the drum head sometimes, you know, evan's autism or thirty, sometimes I find myself having more mids with things like that. Well, I said this is stuff that you really just kind of need, you know? You know, with me it's like, I just trust my good, you know, there's one thing about mixing that I read that really stuck with me is just like, uh, you know, you just got to get to, you know, you've got to trust your good if you feel like something's not right or do you feel like something is right then just roll with that? You know, you feel like it's like man so it's just not right about the snare than work with him or, you know, and it's ah, you know, there's a lot of people were like, hey, how do you mix and it's one of those things again, it's just like the keyboard thing at first it's going to take a lot of work you're gonna have to, like, really look at the details but over time it gets a point where it's like, you know if you if you become have if you're successful in having your dying up a decent mix good levels, good tones, things like that and then you do it again and over time it just you get quicker quicker at it and now it's almost to the point where I don't even think about it I just kind of go with my gut on everything and I just you know I don't it's feels good I'll leave it alone I feel like you know what? It's a little boxy I'm to the point now like I've messed with the accused enough to where I kind of can here um you know I'm gonna be like, you know, I feel like hey it's a little tubby boxy whatever uh let me cut it around two fifty three hundred see if that fixes you know and it's I can kind of think in terms of like what the sounds are so it's I mean, I think it's really important to sit down and if you want to mix records I mean it's got a lot kiki was a huge deal yeah tones and how things sit in the mix and I think it's, you know, just as important dynamics are super important, but you know, it was like the thing that you need a master um so get one of these surgically accused of what I really find out what what yields what you know what does what and likes it again in the digital round you want like to me it sounds cleaner and better if you create your cue curves with cuts rather than boosts a lot of professionals will say that so reductive versus yeah I mean I will boost here in there every once in a while just in small amounts but like say if you boost a lot you just you actually add a lot of noise right digital noise to the to the sound of whatever the digital gain and you and a law gain good heart because it has harmonic distortions but digital gain bad mind you know because it's just not a pleasant game uh like said there's a concept of ah uh offending frequencies I said I usually kind of you know do make broad strokes of first if you noticed I owe my kick in my snare I have a two week use engaged I'm making some broad strokes on the q kind of like on this snare drum I kind of like having that extra um we had no oftentimes and I may have cut that because maybe the high hat or symbol bleed was too much in the middle on the snare mike or something when we were mixed with will snare some element uh but for alec I like this that's two metal box basically where I had it feels the best to me and that might be because I'm used to it now because we just listen to it for a minute so you always want to come back the next day and see as I've learned that of the hard way la times it's good to step away for days if you can if you're mixing and come back, listen again because lots and you'll hear supply well, I can't believe I didn't hear that, you know? Um uh, well, I said this is in broad strokes up, you know, a little bit about where I had it in a low in suite usually like cut off around it one fifty two, two hundred somewhere in there because you want a little bit of low in punches, you kind of feel in the snare, but you don't want to sound so you know, unless you're doing like a def leppard like eighty, style is really thick, you know, and you gotta have it be doing this style of music suits or whatever, but, uh, like said I could the mud on the snare, we've got a question for mountain stream many mixture seemed to cut out about five hundred hertz on all tracks in high passing all tracks except for heavy bass tracks at about one hundred herds do you also have such things you always do? Yeah like I mentioned about the symbols was always could have five hundred yeah most rock and middle sometimes you know form or you know if you're doing like a different style sometimes I want cut his lowest three fifty if you leave a little more going innocents symbols ah but I rarely couldn't lower than that uh well I said on the snare here again almost always cut these lows is this tubby low I feel like it's just uh and it's you know the reason that's there like said I want to sound more like the acoustic drum really sounds to my ear my ears like way up here that mike is right listen here so I've gotta do some q correction to get it to sound like you know the way we want it to sound you know that's the way we're accustomed to hearing sounds so uh mike you know the michael its position its ear the mic itself here's differently than our year the frequency response and and that position affects the way and if you put your ear right on a snare drum like that it would probably sound pretty basic um pretty boxing so we're doing some of you know someone um correct a v q the like said the kick drum said I'm cutting the blows these like so there's there's no absolute like frequency rules you know you know aside from like five hundred that I can think of but there is some ballparks oftentimes like I said for metal you know cut the highs that maybe like you twelve or fourteen this particular rock record I'll probably could you know could the highs you know lowered because I don't wanna cliquey sound you know or no tell me doesn't want but then you know broad strokes first check out the theme general it's pretty good let me check the cake and so oh the kick outside if you noticed I'm cutting all the highs all I've got to lose clip that's all I want out of that personally some people low and information just a little extra boom and some people live a full frequency and blend into you know that could be useful to but that's normally what I do there might be like losing so a pretty cool amount of high in for a rocky I like that he's educated guests don't know until we get the guitar in there but believe maybe it's because we're we just had it set and I'm just used to that but it's that basic I'm just trimming off the possibly rumbly low in that we can't even hear you know most people can't hear you know thirty heard so whatever uh well I said I'm just a case or some like rumbling noise or something is going get rid of it creates that space mid range it's kind of one thing about your rock and metal it seems like to me it's like this particular with drums and inventory of its like rock has mid metal doesn't you know that sounds metal to me like a headlight thinking drum everything that sounds like you know, black metal kick drum or something you know you know what that sounds like old school seventies or something I like it it's not metal and a lot of this mid sometimes you need more mitch and you think you need to cut the mics cut the mids all the way out like a lot of times people develop a base tune with like no mids and it sounds cool by itself then we put it to make sure like I can't hear the base at all and it's you need those mid to cut because the base is still a low mid you know, in the context of things it's still living in this area and right here primarily we're going to say when you do mix do prefer speakers or headphones I've ever had bones on for everything or just drawn to it uh yeah I mean I go back and forth you know, you know this forms like what makes what I could hear the you know, I used the industry standards you know, the seventy five or six years you know you see these everywhere one hundred dollars headphones and it's just like, you know, even mastering guys they use them to as a resource of reference and things like that but just a they're nice and full frequency they don't hype up the lows too much hype of the highs and you know I say I feel like when I makes with ease like you know if it sounds right and then take it to my car it's pretty close with the exception like said the wild cards, the low sub frequencies or whatever and I have you know, you know, obviously so bull for for that for my system, whatever so it's a chick to reverse that kind of stuff, but what? I'm mix it with my flat studio monitors you know, it will sound right in the studio taking the car and then the studio monitors have better transit response things of that nature, so the kid's rooms like what I found I need to kick drums in the vocals need to be louder on the studio monitors and the guitars need to sound was quiet studio monitors to be right out in the car to be right on the boom box like always checked them out, you know, the final mix is on a boom box surround sound system in the house, you know, the core, you know, normal like I try to think like, hey, we're normal people listen, he's even checked the ipod earbuds that come factory uh, you know, like, say, I feel like these sony's they really help me get in the ballpark quicker than any. Any other reference I don't know what you could hear the stereo separation you hear in negative artifacts, quiches things of that nature. Livia so like that I'll go through and do some broad strokes I've done through broad strokes with the tom's here that's a tom naturally with that, mike well, I said I start with the broad strokes usually mid cut on drums high, get rid of the extra highs that we don't need it with extra lows it's across the board um and then, like I said that I go through and find, like, you know, find the offending frequencies or frequencies that may be harsh like said that we've used them quality preempts and things of that nature, so we don't really need one thing I'm noticing right off the bat that could be cool if you like that we still have more work with you could make a really sharp q and you kind of, you know, scroll around to find that note oh, that's part of it anyway, see if there's any more offended frequencies like you just do some more scanning it's kind of annoying I can't really hear you kind of hear thing was you hear you're okay and you start listening for you like okay and I was like, these might not be a problem in the mix wait, I've noticed around two point three k always sounds harsh I've ever read about it somewhere around two to carry it regional thomas it's always nice to pull out a little bit of that on almost everything especially distorted guitar and around four six k and historic starts like this headphones man that killed your years still got it like said, I mean, I normally I would take some more time and go through and find you know, all the offending frequencies in such but you don't it's like that some people like it, you know? But you know what? Most people don't dig to st anger type thing and they could easily done that I'm not sure what the thinking was there grab another you can you see if I can find some he's obviously been freed was his life versatile like that would go through and find free was is that might be offending in the mix, you know? And you know, just like that always a miss matter, just sweeping through everything and seeing what you know if there's any improvement and I would repeat the process again once I get in the mix how much difference there but so as you're sweeping that you're looking for anything that's like a higher volume is that right sort of anything that really something that stands out like sit with the hip bones when you really tail recommend doing this process with the hip bones honestly because it really kind of like, ok, that kind of hurts my years you get rid of some of that you know you don't have to do is dresses that could I'm doing here you know but you're like man if that just really hurt you mean like said on the snare drum is really noticeable on guitar I'll do that on guitar here and it's a notice wall so so my guitar amps and hit heads and things like that have different you know, different amounts and different frequencies here's the way it sounds good but a little busy so I usually for rock sound kind of way that makes the space for the vocal pronunciations I don't hear any beneficial low in past eighty hurts from this particular tone impulse we wanna rock sounds like metal were doing a chugga chugga or anything like that uh saving finds on the pending free you know someone's lying around two point three way in there I never noticed unless he did it yeah I found it in your head it's annoying now that way that's pretty amazing my brain playing a trick on yeah is devin will detail because that was like who that's happening all the whole time? That could be the reason like I just a weird residents of the camp or hair guitar or something you know um you know it's crazy because it doesn't matter what's been playing guitar using the same frequencies are a problem for their offending so you know if you should dial it back a little bit but obviously I said this stuff matters mostly in the mix what it sounds like but I would do the same thing with the base a lot times of the base you know, it's around two hundred it's just kind of tighten it up, you know, cutting around in that area of notice that really got a solid low in and in the mid range or separate but it was you could do that also. Um well, it's been a long time. Thanks. So yeah way about vocals but like a lot of times with the norm in this particular combination in your voice I haven't had to do it if the frequency carving but sometimes was screaming certain like sometimes I get somebody sends me a you know they should track will academics are mike or something like that something chief it's just not really abiding hard top in I just find that biting frequency and just carve it out it's like ok now sounds good, you know ah, but that's something like that, I would go across the board or whatever and do you find a defendant frequencies? Do some broad stroke e q on guitar, I said, if you noticed, like, cut the highs and lows that I don't need on the base, cut the highs and lows that I don't need that's actually a target on the lead guitar and he was talking about mixing lead guitars. Um, I said normally for especially particular for using the same man for something like that. Oftentimes I want to give the lead guitar a contrast ing voice, so either we do that with using a different and he's different distortion penalty distortion pedals, setting different guitar, maybe different pickup and if that's not the case, you can use just different cute and cut some additional highs that you don't need additional lows and thin out the acoustic guitar in the lead guitar just so did it sits in the mix a little better so that there's clarity involved turn the bulk of the hated turned the locals always ah, this is ah, yeah, one thing is fine from the way yeah, kind of my approach to the mixing like said, you get these accuse kind of in the ballpark, get the levels kind of in the ballpark, you basically get all the you know, all the colors on the page and then you kind of start filing out the details, you just listen to it, you know, I think this intro let's just take it six segment busing theme song is really good and easy because it comes in and pieces let's, check out the drums like, hey, what do we like? We didn't like write to me these are symbols or crank insulin mia see if I can deal with it. Yes see, I don't feel like we need a lot of hat at all because we've got plenty I've had on the overhead coming through the snare might there's a plug and I use often the trans x and get a little more popping out of the rooms make him a softer, harder a lot of people use compresses for the very same thing and, you know, just mess with the, you know, obviously the popular levin seventy six presser and stuff like that you could set the attack slows we changed ratio of the body of the information to the attack with the trans ickes with the module transit modulator pulling games like this and sonics sonics transit modulator you can uh you can really more precisely control the attack and, you know, the punch and the or the er not punch of the senate in this case is, I think it sounds good on the snare, actually said, you remember, I'm running a compressor just for kind of character and flavor, not so much dynamic control and not so much, you know, for I just like the this analog kind of emulates, like a tube type sound. And normally I actually run a tape emulator. We know that when I use isn't here and then here's, the oxford transit modulator on the deal of the drum bus. But normally he's, like I like the way tape sounds for drums, a cz most. You know, when you just kind of rounds off the transits, make kind of glues it altogether. Same thing with the you know, the ss alice is famous for gluing the mixed together.

Class Description

Get an inside look at how things run in the studio with Tommy Rogers & Jamie King in this Studio Pass.

Tommy is the vocalist for the progressive metal band Between the Buried and Me and has worked with Jamie to produce most of the band’s albums. In this class, they’ll share their signature approach to production and detail the process they used to record Tommy’s latest solo album “Modern Noise”.

Both Tommy and Jamie aim to track songs that sound organic and real. In Studio Pass: Tommy Rogers & Jamie King, they’ll show you how things should run in a studio to get a final track that sounds like the band on their best day, but not over-produced.

You’ll learn about the role good pre-production plays in getting the best sound and what you should do before you ever set foot inside the studio. You’ll learn about the recording process as Tommy and Jamie track drums, bass, vocals, and guitar for a song from Tommy’s solo album. They’ll also deconstruct Pro Tools sessions and talk about how performance impacts the final arrangement.

If you want to learn how these guys work in the studio, don’t miss your chance to hang for two days with Tommy and Jamie and get a behind-the-scenes look at their process.


Zachary Towne

Thanks for two outstanding sessions. Tommy, Jamie and the Creative Live folks really did a great job elucidating the studio recording process for producing honest, listenable, and powerful rock and metal recordings. I particularly appreciated the individual treatment of each instrument as well as how they all integrate into the mix. I found Jamie's methods to be straightforward and effective and I'm really looking forward to applying that to my own production.

a Creativelive Student

Another well done class from Creativelive. A glimpse into the daily life of a pro musician and pro engineer. Some great advice, tips and tricks that anyone can use to make better music. Was hoping they would get more into the business side of things, they did briefly discuss it towards the end, however a more detailed, longer discussion on the topic would have been good. You do learn some cool ways to record and mix. Some of these are obvious, some not so much. I am sure that for most people you will get something of value from this class.


This was an awesome 1st half of the course! Jamie touched on so many things that I've always had questions about in the production environment. I can't wait for the second day! This course is a MUST HAVE!! I will be purchasing it soon!! Many thanks for the Livestream!