SOUND GUY ESSENTIALS:

70 EQ TIPS FOR BETTER LIVE MIXES

Hey There! Welcome To The EQ Tips Course!

We’ve taken some of the material from our Sound Guy Essentials course and adapted it in
to this handy guide for you. While it comes from our flagship course (which thanks to you
has become the #1 online training course in the world for live sound engineers) this PDF
is still designed as a stand-alone resource for you and your team to use.

We’re about to jump in to some of the best, most practical tips and tricks for getting the
most out of your mix using EQ, but first, let’s make sure we all understand exactly how an
Equalizer works and what the basic functions are.

Let’s go!

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3 PRIMARY EQ CONTROLS
There are three basic functions of an EQ that we need to understand before we jump in
to all the really cool stuff. These are the controls you’ll find on your basic console EQ:

Frequency - This simply selects which frequency you’re wanting to work with. High air-y
frequency? Low bass-y frequency? This is where you pick the frequency range you want to
work with.

Gain - The gain control lets you adjust how many decibels (or dB) you want to increase
(boost) or decrease (cut) at the selected frequency. In short, how much do you want to
add or subtract from the sound at the frequency you selected.

Q - This control is where you get to decide how much you want to effect the frequencies
around the center frequency that you chose with your frequency knob.

Think of the main frequency you chose as the peak of a mountain. The Q controls how
steep the slope of the sides will be. Will the “mountain” be wide with a gentle slope
which effects more of the surrounding frequencies? Or will it have steep sides where the
boost or cut is very tight and doesn’t effect the surrounding frequencies very much? It’s
up to you!

You’ll find these three controls on nearly every console EQ in some form. There are excep-
tions though; for example a 31 band graphic EQ doesn’t have a Q control, and you’re lim-
ited to the 31 frequencies that the manufacturer has selected, but for the most part, un-
derstanding these 3 controls will allow you to use any EQ out there!
SOUND GUY ESSENTIALS:
71 EQ TIPS FOR BETTER LIVE MIXES

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3 BASIC EQ METHODS
EQ controls can look pretty intimidating at first, but now that you know what the knobs
actually do, let’s get practical! There are really just three basic things you can do with an
EQ:

Filter - When you filter frequencies, it means that you eliminate signal above or below a
certain point. This type of EQ is often called a low-cut, high-cut, low pass, or high pass fil-
ter. It’s great for cutting out unnecessary rumble in the low end, or overbearing hiss in
the high frequencies.

Cut - This is also known as subtractive EQ. When you cut a frequency you reduce the
power that it has in your signal. This is great for cutting an annoying ring in a snare drum,
or a piercing high-midrange in a vocal. You can also use cuts to make room for other in-
struments to shine through in the mix... but more on that later ;-)

Boost - When frequencies are boosted, you’re making them more powerful in the mix.
Need more low end kick drum thump? Try boosting around 63 hZ. Got a bass guitar that’s
not cutting through and doesn’t have enough presence? Try boosting around 2 or 3 kHz.
The purpose of a boost is to add frequencies that are lacking in the signal. Aka, “what is
there not enough of?”.

It’s great to have a an easy reference tip sheet (like this one) while you mix to give you
creative ideas on how to approach different instruments and frequency ranges.

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READY TO EQ LIKE A BOSS?

I sure hope so, because we’re about to get started! You’re going to get all the info you
need to really understand exactly how powerful an EQ can be. We always tell people that
if we could only have one tool to process audio... it would be EQ.

Not compression, not some crazy effect... just good old simple EQ.

Also, I want to stress that this won’t be some “theoretical” EQ course that just talks about
boring technical jargon and doesn’t give you and real, practical advice.

It’s our hope that after going through this course, you’ll feel equipped to take on your
mixes with more confidence than ever before!

EQ is so powerful... and you’re about to see why!

FILTERING YOUR MIX

Now that you’ve got a handle on the functions of your EQ and what it’s capable of, let’s
get in to the practical guideline that will work in nearly every mix.

First let’s talk about EQ filters, which can be super useful to clean up your mix.

Let’s get started!

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HIGH AND LOW PASS FILTERS

Filtering is one of the most basic functions of equalization. Filtering essentially eliminates
(or filters out) the sound above or below a certain frequency.

High-pass and low-pass filters have unfortunately confusing names. For instance, when
you apply a high-pass filter to a vocal up to 100 Hz, you’re letting the “highs pass
through” unaffected above 100 Hz. Conversely, if you use a low-pass filter on a kick drum
down to 10 kHz then you’re letting all the frequencies lower than 10 kHz “pass through”
unaffected. It’s a bit backwards, but just remember what frequency range you’re letting
“pass through” and you should get the hang of it.

A term I like to use that I feel is less confusing for these filters is to call them “low-cut”
and “high-cut” filters.

High-pass and low-pass filters can have different slopes as well. Your console may or may
not have an option to change this. If it does, you can use a steeper slope to filter the
highs or lows more strongly or you can use a more gentle slope to gradually roll off the
frequencies.

FILTERING FOR DRUMS

1. Kick drums are bass instruments, so they’re rarely filtered above 40-50 Hz
2. You can reduce bleed from the rest of the drums by low-pass filtering the kick drum
down to the high-mids, about 5-10 kHz depending on what sounds good.
3. You can take some of the oomph out of the snare drum (especially if the kick is bleed-
ing into the snare mic) by filtering everything below 100 Hz.
4. Depending on what kind of style you’re going for, you can filter quite a bit of low-end
out of the overhead microphones. If you want a natural overhead sound, or if the
overheads make up most of the drum-sound anyway, then filter as little as you can. If
your kick and snare tracks are supplying most of the sound and you’re just looking to
accent the cymbals and add some ambience around the close-miked kick and snare,
then you could filter up as high as 500 Hz.

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FILTERING FOR BASS

5. I rarely high-pass filter the bass higher than about 40 Hz, just to get rid of any low-
end rumble it might have. This really depends on how good the low end response of
your PA system is, so make sure to use your ears!
6. If you’re dealing with a rounder bass (or maybe a synth bass) that functions more like
a pad than a normal punchy bass sound, then you can filter out all the highs to just ac-
cent the lows and the low-mids. Just move the filter down into the mids until it
sounds right.
7. Sometimes there’s really nothing going on above a certain frequency. You’ll be able
to see the frequency representation if your EQ has an analyzer, so you’ll often be able
to gauge how much you can filter by looking at the analyzer. It’s a good crutch, but
don’t rely on your eyes to mix

FILTERING FOR GUITARS

8. My guitars are almost always filtered up to 100 hZ. There’s nothing that should be
happening below that frequency, so anything you find down there is typically just
amp noise and rumble from the stage.
9. You can high-pass your guitars even higher, depending on the arrangement and how
busy the mix is with other instruments. If your guitars are clashing with other instru-
ments in the low-mids chances are you can fit them together with the right filter fre-
quency.
10. If you’re worried about filtering too much just put your guitars in solo and sweep the
filter up the frequency spectrum until the guitar (or any other instrument) starts to
sound too thin, then back off to right before that.
11. It might sound great in solo but you may want the guitar to sound a little thinner to
fit in the mix, so make sure you listen to the filtered guitar in context with the rest of
the mix.
12. One of my favorite filter tips is to use a low-pass filter on distorted electric guitars
that combines a boost at the cut-off frequency. Most filters (especially on digital con-
soles) will let you add a resonant boost at the cut-off frequency if you increase the Q.

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FILTERING FOR KEYS AND PIANOS

13. Depending on the performance and what register the keys are playing, I would advise
against filtering too much.
14. A good bet for most instruments that aren’t “bass” instruments is to filter up to 100
Hz, but if you feel there’s something lacking from the instrument at that point, you
can move your cut-off frequency lower.
15. Try my resonant filter + boost tip from the guitar section on rock organs or hard hit-
ting keyboards that don’t need (or have) a lot of high frequency energy.

FILTERING FOR VOCALS

16. Depending on the gender of the singer, you can often get away with filtering quite a
bit of low-end energy out. Start at 100 Hz and move up until you feel the voice thin-
ning out. Just like with guitars, most of what you’ll find below that point will be rum-
ble from the stage or low-end bleed from the PA in the room.
17. If you want to blend the backing vocals better in the mix, you can use a low-pass filter
to cut some highs and help them not overtake the lead vocalist.
18. Alternatively, if you high-pass filter the vocals quite heavily and increase the volume
you’ll get them to stand out a bit more, giving them more of an “airy” quality that
cuts through the mix.

GENERAL FILTER TIPS

19. Filters are a fairly simple concept, but you’d be amazed at how much cleaner your
mixes sound once you’ve added a few strategic high-pass filters to get rid of the low
rumble and the low-mid mud. Adding a few low-pass filters will also clean up any hiss
from hard-rock guitars, get rid of unnecessary bleed from drums and blend backing
vocals. They should be your first tool to get your instruments to fit better together.
20. However, don’t think of filters as their own separate concept. They usually go hand in
hand with whatever other EQ’ing you’re doing, so let’s talk about how you can attack
problematic frequencies and accent the frequencies that make your instruments cut
through the mix.

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THE BEST BOOSTS & CUTS

Before we get in to some practical tips, let’s talk about the concepts behind boosts and
cuts and when to use them.

For me, it’s very simple: Cut First. Boost Second.

Cut = “What is there too much of?”

Boost = “What do I want to hear more of?”

By following this idea, you’ll strip away the bad stuff first. All the mud, harshness, and
shrill frequencies will be gone. Then and only then do as ask the question “What do I
want to hear more of?”

If you’ve done your cuts right... the answer may be nothing! ;-)

DRUMS
21. Cut the kick drum in the 300 - 600 Hz region to get rid of boxiness. Sweep around
with a narrow Q and a big boost to find the boxiest frequency and then get rid of it.
22. The same works well on a drum group bus, toms or any other drum that needs to be
smoothed out. Start with a cut around 400 Hz and see if your drums tighten up a bit.
23. If you have multiple microphones on drums, such as an over and under snare mic,
then make sure you check the phase relationship between all the drums. You’d be sur-
prised just how much punch you can add back into a drum sound if you just make sure
everything is in phase. This tip also applies to any instrument that’s multi-mic’d. Flip
the polarity of one of the tracks and see if it adds some extra weight and power to
the overall sound of the instrument.

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DRUMS
24. The typical philosophy for kick drums is to cut the mids and boost the lows for bass
and the high-mids for the beater. Although I’ve found this to be true most of the
time, some styles need a heavier hand to tame the lows.
25. One general rule of thumb I follow is: The “heavier” the song, the more higher-mid
boost I use. Kicks in electronic/dance songs come to life with a boost in the 4 kHz area
but for softer goings like you can get the results you want by focusing more on the
area from 1.2 kHz to 3 kHz as a starting point.
26. Harsh cymbal noises can be tamed with a cut in the 4 to 7 kHz area. You can learn to
hone in on harsh ringing frequencies and notch them out so you can get a clean and
airy cymbal sound without the annoying harshness.
27. Drums on stage often have annoying low-mid buildup, causing the kick drum to have
too much energy in the 100 - 250 Hz area. Don’t be afraid to cut lows and low-mids in
order to clean up your drum sound. It doesn’t always take a low-frequency boost to
create powerful bass. Sometimes it’s about cleaning up the area to hear the bass
that’s already there.
28. However, if you need more low-end oomph in your kick drum then find the right fre-
quency that sounds good to you by boosting around 60 - 100 Hz.
29. If you want to add body to your drum sound try hunting for it around 150 - 250 Hz. If
you like a meaty snare sound then boost the low-mids to bring out the thickness of
the body.
30. Alternatively, if you’re looking for more sizzle or attack, bringing out the 2.5 - 3 kHz
character can help bring it out in the mix.
31. If that brings out the rattle of the snares too much, a high-shelving boost around 10
kHz will bring out the brightness of the snare drum without adding harshness from
the snares themselves.
32. The area around 2.5 to 5 kHz is a good starting point to bring out the attack of any
drum, whether it’s the snare, toms or the beater of the kick drum. But be aware, it
also causes harshness if boosted too much.

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BASS
33. A lot of the same rules apply in the low-end for bass and the kick drum. They like to
clash and fight in the lows, so make sure you give the kick drum its space in one spe-
cific frequency while giving the bass some room to breathe in another.
34. Soloing the kick drum and bass guitar while allocating the right frequencies to each
of them can be helpful. Sometimes the kick might sound slightly thin, but once the
bass is added to the mix it helps fill out the gaps in the kick drum’s sound.
35. If your bass sounds too thin then adding some 200-250 Hz can beef it up.
36. Another good way of fleshing out the bass is to add smaller frequency boosts in multi-
ple frequency areas instead of one large boost in the lows. If the fundamental fre-
quency of the bass (or the key of the song) is 100 Hz then adding a boost in 200 Hz,
400 Hz and 600 Hz (various multiples of the original frequency) will flesh out the
sound of the bass more than just one large boost at 100 Hz. Harmonics can be your
friend and can add extra depth to your EQ’ing.
37. In a similar vein, getting the bass to cut through isn’t only achieved by boosting the
thickness in the low-mids. Adding a boost at 600 - 800 Hz can bring out the upper
range of the bass, giving it more presence in the mix.
38. The bass can also get in the way when you least expect it. Sometimes a muddy vocal
is actually just the bass masking the vocal track, so make sure your bass isn’t clutter-
ing up some part of the mix that you’re not thinking of.
39. A good way to check this is to boost the bass in the mids and upper-mids and listen to
the other tracks, the vocal for instance, to see where the bass starts masking those in-
struments.

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GUITARS
40. Don’t assume that the killer guitar tone the guitarist came up with in his basement
will fit with the rest of the band. The guitar tone that sounds good by itself is not nec-
essarily the tone that will sound good with a band.
41. Make sure your guitar isn’t clashing with the bass in the low-mids. Cut out a little bit
in the 150 - 250 Hz region if either instrument lacks definition down there.
42. If your guitar is sounding thin and it’s not getting in the way of the bass, a boost in
the low-mids around 200 - 250 Hz can help bring some thickness to it.
43. If the guitars are lacking body and power, increasing the area around 500 Hz can
make them bigger without making them sound muddy or hissy.
44. If your guitars are overly distorted and hissy, reducing the high-mids around 4 kHz can
clean that up.
45. The high-mids from 1 - 4 kHz are a very interesting area to experiment with, espe-
cially when it comes to distorted guitars. You can really shape the tone of the guitar
to fit the song style just by picking the right high-mids to boost and cut. Spend some
time getting familiar with this area and you’ll be a guitar EQ virtuoso in no time.
46. If you want to separate two electric guitars, try boosting a nice sounding high-mid fre-
quency in one guitar track and cutting it in the other. Then find a separate flattering
high-mid frequency in the track you just cut and repeat the process.
47. If you’re EQ’ing an acoustic guitar and it’s sounding a little too honky and “cheap-
sounding” then hunt around and cut in the 800 Hz region to give your acoustic a
smoother sound.
48. You can bring out some brilliance in the acoustic guitar by boosting around 8 kHz.
49. However, if your acoustic guitar is just a small part of the arrangement and just needs
some “strummy presence” in the background, try adding some air above 10 kHz to
help the acoustic feel present in the mix without cluttering up the rest of the arrange-
ment in the lower frequency spectrum.
50. If your guitars sound like they’re masking the vocals, a wide cut around 1 - 5 kHz can
help settle the guitar around the vocal sound.
51. Even if you have wide cuts, like in the previous tip for example, you might want to ac-
cent a specific frequency inside that cut to bring the guitar (or any other instrument)
out in the mix. To visualize it, your EQ curve will look like a wide valley with a little
mountain inside of it. ;-)

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KEYS AND PIANOS

52. Many of the tips I’ve talked about before can be used on keys and pianos. Fullness is
around 200 Hz, presence at 3 - 5 kHz and air from 10 kHz and above.
53. Keys can quickly clutter up the mix so be mindful of the low-mid frequencies. Add a
shelving cut to tame the lows if they get in the way of the kick, bass or guitars.
54. The main tip when it comes to keys is to listen to the frequencies you’re not targeting
with the other instruments. I’ve found that the mids from 600 Hz - 1 kHz are often un-
derrepresented in the rest of the arrangement so I tend to focus on that area to bring
out the keys and pianos in my mixes.
55. Other frequency ranges like 300 Hz can often be helpful, even if they’re mostly associ-
ated with “boxiness.” Don’t get too caught up in what each frequency range is “sup-
posed” to sound like because the only thing that matters is whether your EQ adjust-
ments are making your instruments fit together and cut through the mix.
56. If your piano is getting in the way of the vocal, do the same EQ cut trick in the high-
mids as you would with the guitar.
57. You’ll want a piano to sound lush and big when it’s playing on its own, but make sure
you EQ it in the context of the mix if there’s a big arrangement going on. It might not
sound good in solo, but the only thing that matters is the overall mix.

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VOCALS
58. If the vocal is lacking clarity while still having plenty of high-end energy then reduce
the 200 Hz area to clean things up.
59. If your vocal sounds too nasally then attack the 900 Hz - 1 kHz area to cut it out.
60. The area above 1 kHz, around 1.2 - 1.5 kHz can often help the vocal cut through the
mix. Just make sure you don’t accidentally make the singer sound nasally!
61. I’ve often found that when I’m trying to reduce honkiness in the 1.2 kHz area I some-
times fail because it’s often better to reduce the 300 Hz “boxy” area instead and that
can fix the entire vocal sound.
62. Bring out the clarity and intelligibility of the vocal in the 3 kHz range.
63. A 5 kHz boost tends to add a nice presence to the vocal, but boosting too much of
any high-mid frequency can quickly result in overall harshness.
64. Sibilance is generally centered around 7 to 8 kHz. However, certain ‘s’ sounds can be
lower, and if you have particularly problematic sibilance problems, you might need to
hunt for their harmonics too, sometimes all the way up to around 14 kHz.
65. Don’t be afraid to cut a lot of low-mids if necessary. Sometimes, especially in a live set-
ting, your EQ will end up looking pretty extreme as you cut out the mud that builds
up across multiple vocalists. Remember, if it sounds good, it is good. Do what you
need to do to make the mix great!

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FINAL EQ THOUGHTS
EQ is a big part of mixing and although mastery of it is a huge superpower to have, it’s
still subject to taste, experimentation and style that changes with every mix you do.

Every time we mix we instinctively think of these guidelines when we’re listening to what
we want to add or subtract. However, that doesn’t mean we blindly follow these areas if
those decisions don’t make a good mix. We’ve often had to fly in the face of common wis-
dom just to make things cut through and fit together, and that’s always what’s most im-
portant when it comes to mixing.

Consider the audience when you’re EQ’ing. Make sure you mix in a way that connects with
your congregation. Maybe don’t make the high end super aggressive if you’ve got a older
congregation who aren’t used to hearing music like that. Conversely, don’t kill all the en-
ergy in your mix if most of the congregation loves it, but one or two people complain.

Always remember this:

No one cares if you can name a specific frequency from memory.
People care if your mix sounds good.

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BALANCING YOUR MIX

As you move through the mixing process and keep adding processors such as EQ, you will
inevitably change the initial balance you made with only volume and panning.

That’s why it’s always a good idea to keep rebalancing the faders as you move through
the mix. Even if you keep your gain structure of the plug-ins relatively perfect, you will
still need to keep adjusting the volume.

Mixing isn’t a complete step by step process and sometimes it isn’t enough to just EQ
your mix once and call it a day. Oftentimes you’ll have to revisit certain tracks and adjust
the frequencies you’ve boosted or cut depending on what you’ve done to the rest of the
mix.

Instead of a step by step process that’ unchanging, it’s more like a set of steps and guide-
lines you follow while constantly adjusting and reacting to your mix decisions.

Before we end the course we’ve got a couple more tips for you about EQ...

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BONUS TIPS!
66. EQ is your best friend when you’re trying to separate your instruments in the fre-
quency spectrum.
67. However, some issues can’t be fixed with EQ because of their dynamic nature. A track
that’s constantly switching from quiet to loud can’t be tamed with EQ. That’s where
compression comes in.
68. You don’t always have to use EQ on every track. Seriously. Some tracks might
sound great as they are and only need some compression and effects to fit with the
rest of the mix. Maybe all they need is a little filtering just for low-end control. Just
remember that you might have tracks in your mixes that you don’t feel the need to
EQ. That’s ok!
69. The mixing process goes much faster if you adopt bus processing on groups. You
might not be comfortable with the top-down or middle-out method right away, but
it’s worth it if you want to save time and do more mixing.
70. After EQ adjustments (and other mixing techniques) you will often need to rebalance
the faders so that the instruments all sit back to where you wanted the balance to be.

I hope these few pages have helped you become better at EQ’ing. It’s sincerely one of the
best processors to use when it comes to making your mixes sound great from the start.

Of course, there’s only so much you can learn by reading tips and tricks so make sure you
try them all out individually on your own to get a feeling for how those frequencies react
when you’re mixing your instruments.

It’s our hope that the tips above have given you some good ideas on what to try in order
to create separation between your instruments and definition in your mixes.

Now... let’s talk about making you an even better EQ master...

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BECOMING AN EQ NINJA
If you want to make clean mixes where you can hear every instrument clearly, you’ll need
to learn as much as you can about EQ.

Learning to use equalization (or EQ) is the first step towards great mixing skills. Knowing
how frequencies interact and how to fit them all together is a crucial skill all engineers
like yourself should have.

Here’s how I learned exactly how important it is...

Way back in my teens, I randomly found myself hired as the live sound engineer at this
small church called The Warehouse. It was a cool place and an awesome ministry, but it
had a reputation for having bad sound. That didn’t stop incredible worship from happen-
ing during their services, but it was really frustrating.

Little did they know that they weren't exactly hiring someone who knew what he was do-
ing. I was extremely intimidated by everything surrounding live sound. All these cables
everywhere. All these speakers everywhere, both the monitors and the P.A. The blinking
lights of 24 channels on a mixing board?

In a word: overwhelming. Maybe you’ve been there too...

However, all of those things paled in comparison to figuring out how to use the simple,
four band EQ on the mixer. Learning to EQ by desperately twiddling knobs back and forth
in a dimly lit venue isn’t the most glorious way to learn to EQ. I could hardly see what I
was doing!

So, because I didn’t really know what I was doing, it was a lot of trial and error and liter-
ally fumbling around in the dark. Sure, any time I tweaked the EQ the sound of the mix
changed.

Sometimes for the better, most of the time for the worse....

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BECOMING AN EQ NINJA
But it wasn't until I spent hours behind that mixing board and studied what each fre-
quency sounded like and what it does to the mix that I finally got it...

I mean.. really got it.

EQ is the most important mixing tool that you have

on your audio console.

EQ helped me take that tiny venue (it was LITERALLY a warehouse) from its reputation
for having terrible sound to becoming a spot where people actually wanted to come par-
ticipate in worship.

But I wouldn't have been to able to make those shows sound so great if it wasn't for the
EQ. Honestly, I didn’t even have any compressors until a year after I started so limiting my-
self to mastering EQ wasn’t a choice, it was a necessity.

You can learn everything I’ve learned about EQ since then, in a much more comfortable
setting. You’ll learn that EQ can help you in any audio situation, no matter what gear
you’ve got to work with.

Today, you might be having trouble getting cleaner mixes, making instruments cut
through in a dense mix. Maybe your vocal sounds like it's muffled under the other instru-
ments that already sound like they're under a blanket.

But after learning to EQ with us, you’ll be making all those instruments jump out of the
speakers, with a gorgeous, clear vocal leading them like it's the Captain America leading
the Avengers... or Wonder Woman... whatever floats your boat ;-)

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BECOMING AN EQ NINJA
You’ll learn to clean up the muddiness in your mixes.

You’ll discover where to get rid of the boxy cardboard sound in your drums.

You’ll know exactly which frequencies to boost to make your guitars, bass, and other in-
struments sound powerful.

You’ll learn how to use every function of you’re mixer’s EQ section.

And best of all, you’ll finally get your vocals to explode out of your speakers instead of
drowning behind your instruments.

Now, instead of wandering around your mix trying to EQ without knowing where to look
you can actually learn where your problematic frequencies are when you need to fix
them.

EQ doesn’t have to be a mystery...

In fact...we’ll reveal everything you’ve ever wanted to know about live sound.

It’s all part of our new Sound Guy Essentials training course.

We’re covering it all. From setting up your speakers and console, to every EQ, Compres-
sion, and Effects technique you’ll need to master.

What’s more, in this course we work with actual live recorded audio tracks (that you’ll get
to download and practice with) so you’ll get to hear and see what we’re doing and follow
along every step of the way.

Here’s what some of our students have said about the course:

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SOUND GUY ESSENTIALS

“After about 15 years of running sound, I ran across this course and was very intrigued. I
have to admit that after going through all of the course material, it really has made a dif-
ference in not only my skill level but also in my basic understanding of mixing sound. It's
amazing after years of sound experience, that simply reviewing and reapplying the basic
principles can make such a difference.

You guys bring a lot of clarity to things that are easily misunderstood. I highly recommend
this program to anyone, from the newbie to the guy or gal who's been at if for years.”

-Gene Schilhab

“Totally worth jumping in this course! The content is on point and is great for new sound
guys starting out too. I used this with some of my new sound guys and it really helped
bring them up to speed to start mixing quicker.”

-Jesse M

With this course I’ve been able to absolutely transform the sound in our auditorium. It’s
so much more engaging for our congregation now!

-Dylan Payne

“Loved it! We’re entering a new season at our church and your course has been the tool
we center our training around to get our team ready for the learning curve ahead. Love
the responsiveness too. Great testimony to your commitment to help churches! Bless
you!!”

-Jonathan Strachan

Read More Testimonials Here

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Here’s exactly what you’ll get in our Sound

Guy Essential course:

• 8+ hours of video training covering every aspect of live

sound engineering.
• Learn EQ, Compression, and Effects processing for every in-
strument in a modern worship mix.
• Learn to eliminate common issues like feedback, unclear
mixes, and harsh frequencies.
• Get a look at mixing monitor mixes for musicians and actually
hear what a great monitor mix sounds like.
• Learn the secrets to make your mix come together in a way
that makes people actually want to listen.
• Access our growing library of multitrack recordings to down-
load and mix for practice.
• Access to our private students Facebook group with over
1,800 other Worship Sound Guy Students.
• Plus, each course comes with three additional logins so the
rest of your tech team can join the course too!

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Better Mix Skills of Your Money Back... GUARANTEED!
We’re not interested in keeping your money if you didn’t learn anything.

That’s why we’re backing it up with a Ridiculous, 30 Day "Try It, Test It, Apply It" Money
Back Guarantee.

So if you're on the fence...

If other training courses have left you skeptical...

Then I want to give you EVERY opportunity to put Sound Guy Essentials in to action and
experience how easy and exciting it can be to mix for your church when you fully under-
stand every aspect of live sound engineering and get a chance to put all these tips, tricks,
and workflow hacks in to practice.

That's why we're saying "no way!" to the 14-day "industry standard" refund policy and in-
stead giving you a full MONTH to go through the course, check out all the modules, im-
plement the systems, and experience everything this course has to offer.

We know you’re going to love it, just like over 1,000 students before you!

So what do you say? Let’s take your mixes to a whole new level!

Click here to learn more about

Sound Guy Essentials
and start learning today!

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