The EQ and Compression Formula: Learn the step by step way to use EQ and Compression together

Okay, here goes. First and foremost allow me to start with my journey to purchasing this book. About 8 years ago, I chose to venture into this wonderful journey of becoming a music producer. I have learned production techniques from some of the best music producers in hiphop and R&B today. Literally paid them and took classes directly from them. I even earned a degree in music production from a pretty amazing private music college. Some things you just simply do not learn unless you hear or read it in a certain way. I pride myself in my humility in reference to learning anything. I find that it is often in the basics of topics that we get lost and even ignore simple things as being quite trivial. This is an error in judgment that occurs far too often. I say this because there are a lot of comments that sort of wrote off this book at beginner jargon; this is an ineffective way of viewing this publication. IT IS GOOD! Not perfect but good. There are several things that I really think would help a beginner but also things that would help even a seasoned producer; like the mindset that one should follow when looking to achieve a great mix. Trust me when you start using one sound then adding another to layer multiple sounds for texture and uniqueness(sample makers I’m looking at you) things can get wild quickly! You hear so many things like “use your ears” and “use this analogue EQ” or “Use this LA-2A” or “Use the Pultec Punch on your subbass or kick” etc…. This book helps you to understand WHY you want to do some of these things. It doesn’t bash you over the head with a lot of technical things. You can dig deeply and figure those things out for yourself. Trust me, there are millions of sources to learn those things. This book is not for you if you are looking for that sort of knowledge. It has taken me years to develop my skills and I am QUITE GOOD. Again, I still find myself searching for better methods to implement in order to reach the level of mastery that I aspire to. This again is where humility comes in. I choose to read books or even watch tutorials from people who are willing to share their processes. This is how I have been able to learn from some of the true greats in the industry. Always remain a student. It is with this mindset that you will always grow and NEVER STAGNATE.With all of that being said much of what is said here should be taken theoretically. Like the “high pass everything at 300 rule”. It isn’t that this is inaccurate 100% it’s just A bit extreme in my opinion. However, this rule I am sure is assuming that you are producing modern music which is often quite bass heavy; dependent upon the genre obviously. In this case you have to (dare I say) “Use your ears”. If a specific section of a beat or song requires support in 20hz to 200hz range then use an automation on that area to let some of those low frequencies pass when Bass,Kick, or SubBass is not present in the mix/arrangement. CHOOSE WHICH INSTRUMENT is needed in the space that you highpass the lows away from, keep that and cut away the rest (again, USE YOUR EARS. It is YOUR creation; do as you best see fit). The author does not mention highpassing ANY VOCALS IN THIS MANNER so that was an assumption by another reviewer which I deem to be an incorrect one. The writer outlines some very specific, thoughtful approaches to using both equalization and compression simply expressing how one approaches a topic that in my opinion is often made overly complicated by arrogant mixing engineers and producers who aren’t willing to help others and would rather kick them while they are down. I REFUSE TO BE ONE OF THEM. That is why I am taking the time to write this review. We have to do better and this book is a nice start to that. So please if you are new and want a pretty reasonable way of thinking about how to use the most important tools in your mixing arsenal this book is for you. If not either get a degree in the topic or spend your minutes, hours, days, nights, weeks, months and years scouring the internet for helpful tips and tricks(hahah you have to do that anyway). This will give you a good start. Much love and I hope that you do not give up on your music journey. Stay humble and you will never stagnate.

I have been making music for years and I have been taking classes for sound recording for a year or two, so I know some stuff. Like many I got confused with EQ and compression...sometimes I think I was doing better before I started taking classes. what I like about his books is that he explains the basic stuff, the stuff that everyone skips over thinking everyone already knows what it means so they don't bother explaining in real world words. So a lot of the book gave me those "aha" moments that finally had me connect my knowledge to my brain. I ordered the whole series , i also prefer books that I can touch over digital versions so I got the paperback versions.

This book was pretty easy and simple to get through. Some people will argue this book is too basic but it is meant to be. This book gives you a very simple and easy way to think about using eq and compression so that way you have some kind of purpose in doing so. Purpose is key. More importantly though, it teaches you a very basic but key concept which is blend and contrast. Yes, it starts out basic but the reason is this blend and contrast is what all the other books are based upon. They build on each other. So I respect this book for what it is.I'm a slow reader and still got through it in a matter of just an hour and some change. A decent paced reader will get through this faster than that.That said though, I disagree with some of what he talks about in this book. He states some rules. I think these rules are meant for people starting out. It's kinda up to you to know when to break the rules. He'll say things like the rule of 300 is to high pass everything 300 or below with everything except kick, bass and snare and to me, that is bull crap for several reasons. Again though, I have to remember who this book is aimed for. Still though, it is not good to educate people in that matter. Take for instance an 808 that needs some highs. A beginner will tell you 808's don't need highs. That's the "rule" It should live only in the low end. Then wonder why their 808 sounds too dark and buried. Or another example, take a baritone vocal. Are you really going to high pass up to 300hz on a baritone vocal thats super deep? Maybe? Depends on the circumstance, right? We can all agree though that cutting out that much on a baritone will greatly change both the tone and feel of that person's voice in this example This is what I mean when I say some of these rules are GARBAGE. "Things that sound closer to us tend to have more high frequency content"...not necessarily. If you high pass something, the further you cut, the further away something can sound. Same can be said if you low pass something, only it sounds further back in a more buried type of way. Having enough lows or low mids are important for things to sound close. Hence things like proximity effect.As well, a lot of the pages in that book were used to market his other books and I get that to some degree but it was way too much. The point of that is to drive home the fact that every other book builds on this book's basic concept of blend and contrast. He did that but my only argument is he could have done it in a far more simple manner.Is this book worth the read? For a total beginner who doesn't know anything about eq or compression? No. Because they'll follow these "rules". For a person like me who knows a little something about mixing and knows to take certain things with a grain of salt? Yes. Because the concepts he talks about are important to come back to in your mind when you move on to more advanced techniques. It's good to learn these basic concepts and be able to refer back to them. If you intend on reading all his other books, then yes this is worth the read still. If you just wanted to properly learn eq and compression and thats all, I can't say I recommend this book for that purpose. It didn't really fit that purpose that well in my opinion. If anything, it's just good to get you thinking bout your mox in a certain manner. That's about it for this particular book.

Interesting, insightful quick read.

I'm highly experienced in live theatre mixing and recording pipe organs, but I always look for more "tricks of the trade". A few interesting ideas here to try, but overall I think the book is better for the less experienced user. Deducted 1 star just because experienced users will probably not gain much.

I have been lucky enough to be in the studio with professional engineers whilst they mix-hit records. Note, they don't talk much when they are doing it.I don't know anything about mixing myself so I found this book helpful. 4 out of 5 stars.

But a tasty snack. Good advice but is only a section of what was once a larger book.

It covers a great part of the main considerations for EQ and compression, but does not cover advanced techniques with other tools available. Good if you need a detailed insight of what EQ and compression can do for you in your mixes

Excellent. Explained what tons of YouTube videos fail to on what is normally a dry topic. What are these things and when do you need to do them? Which is what I need from a book like this

This book. Not only this one, but the 4 or 5 that Nathan have here to sell are Awesome. I have more than 20 years in music production, mixing and mastering and for me these books have been the last step to sound incredible. Tha approach are pretty simple with some presets and basic explanations but there are incredible powerfull and well planned to the point that when you follow the steps your mixes improves in those areas when you are not making very well..In my opinion a really excellent series of books.