# Introduction

> Are you looking for technical support? Please visit TrainYourEars [support page](https://support.trainyourears.com/).

**TrainYourEars EQ Edition** is an ear training software for Mac and Windows, designed to help you understand equalizers and frequencies like never before.

![](/files/-LNZh-vnk89LFoyPWDKe)

It **speeds up your learning process** exposing you to hundreds of random equalisations you have to guess. If you are wrong, it will let you know "how wrong", and it will let you hear both your guess and the correct answer.

In no time you will **develop a frequency memory** which will allow you to connect the sound you imagine in your head with the needed parameters you have to dial to get it, more quickly and easily than ever.

If you don't know it yet, check it out at the [TrainYourEars](https://www.trainyourears.com) website. *Once there, be sure to take a look at the introductory video.*

## The best path to success

The best path to success is to **take your training seriously**. Keep in mind that it's going to take a while and prepare yourself for 10-15 min of training every day.

TrainYourEars is designed to let you **work at your own pace**. Once you learn how to design exercises, you can adjust them to something which is ***"not super hard but challenging enough"*** in each step of your learning. What that means is:

* If you are working on an exercise and feel like you don't have a clue of what's going on, consider making it simpler.
* If you are working on an exercise and feel like you get it right most of the time, consider making it harder.

This "hardness" adjustments made by you (the student/engineer) is what makes **TrainYourEars incredibly powerful** and it can help you take your ears to the next level.


# DOCUMENTATION


# Minimum Requirements

TrainYourEars works both in PC (Windows) and Mac (macOS).

## Mac (macOS)

* Mac Intel or M1 machine running macOS 10.15 (Catalina) or later.
* 4Gb of RAM.
* 800×600 display resolution.
* An Internet connection.

## PC (Windows)

* Windows 10 or later.
* 4Gb of RAM.
* Pentium 4, Celeron or higher processor.
* 800×600 display resolution.
* An ASIO-compatible sound card is recommended for optimum audio performance and low latency.
* An Internet connection.


# Installation

This document will show you how to get up and running with [TrainYourEars](https://www.trainyourears.com).

## Mac (OSX)

To install **TrainYourEars EQ Edition** on a Mac, follow these steps:

1. Once you have downloaded the `.dmg` file from your email double click on it.
2. Accept the terms and conditions.
3. You will see a new volume in your desktop which looks like this:

![](/files/-LNZgz_ZvAgRIQ4CTKDE)

1. If it's not already open, double click on it.
2. You will see an image like this:

![](/files/-LNZgz_a5Jnlz8NNngNf)

1. Now just drag **TrainYourEars** and drop it on the *Applications* folder you see.
2. That will copy the `TrainYourEars EQ Edition 2.app` in your *Applications* folder so you can find it afterwards.
3. If you have already installed a previous version of *TrainYourEars* it will ask for a replacement. Click on `Replace`.

![](/files/-LNZgz_cWtgrUiLYV-dI)

## PC (Windows)

To install **TrainYourEars EQ Edition** on a PC, follow these steps:

1. Once you have downloaded the `.zip` file from your email double click on it and extract its contents.
2. Then, double click on the `.exe` file.
3. If Windows asks you for admin permissions, click on `Yes`.

![](/files/-LNZgz_enoWLnw-I-Yre)

1. Accept the terms and conditions.
2. Choose the folder where you want to install TrainYourEars.

![](/files/-LNZgz_gABHcl0avTMTd)

1. Finally, click on `Install`.


# PLAYER


# The Player Section

Selecting some audio from the Player section should be your first step each time you want to train.

One of the many advantages of TrainYourEars is that it lets you choose the audio you want to train with. You have three options.

## Three different options

![](/files/-LNZh-uIlrbJZQ2sPaHL)

Each screen lets you select different audio signals.

### Audio Player

Play your own files. You can use songs or even tracks. It depends on what you are trying to learn.

{% hint style="info" %}
For example, if you want to learn how different `Low Cut`filters affect a guitar you've just recorded, just load that track and set up an exercise with different `Low Cuts.`
{% endhint %}

Check the [Audio Player](/player/audio) section for more info.

### Noise Player

Use a noise generator with pink or white noise. This is recommended only for the first steps of the beginners.

Check the [Noise Player](/player/noise) for more info.

### Live Player

One of the most requested features of TrainYourEars: **choose any external source**.

This Live Player allows you to route software playing in your computer, like iTunes, Spotify or even websites (Youtube, SoundCloud) straight to TrainYourEars, so you can train with that signal.

Check the [Live Player](/player/live) for more info.

## Volume and other controls

You can control the volume of the audio input in any of those screens, using the fader on the right.

![](/files/-LNZh-uOQsUS1JrbCZZ_)

There are controls for `Mute` and `Mono` as well, and an output VU meter to evaluate the volume of the incoming signal.

{% hint style="info" %}
You have to be careful when setting up your volume. Remember that TrainYourEars applies a random equalization to the signal. If it applies a boost, it will raise the volume several dBs and it could clip the output.
{% endhint %}


# Audio Player

In the Audio Player, you can load and play audio files.

The type of files supported by TrainYourEars are `wav`, `aif`, `mp3`, `ogg` and `m4a`.

{% hint style="warning" %}
The m4a format is only available on Mac and Win 10.
{% endhint %}

If you haven't added any files yet, you will see this screen:

![](/files/-LNZgznfS_NHWHrocSU4)

You can drag and drop files, folders or click on the `Open File` or `Open Folder` buttons.

If you choose `Open Folder` or drag a folder it will search in the subfolders as well.

Once you have added some files, you will see the Audio Player:

![](/files/-LNZgznhHEK_SNJoRxke)

{% hint style="info" %}
You can still drag and drop files or folders in this screen and they will be added to the playlist.
{% endhint %}

The Audio Player has different sections. Let's see what they do:

## Playlist Buttons

![](/files/-LNZgznjeLWjLCakjky5)

### Add File

Add a file to the playlist.

### Add Folder

Add a folder to the playlist. It will search in the subfolders as well.

### Delete Selected

Remove the selected audio file from the playlist.

### Delete All

Clear the playlist and go back to the Drag and Drop screen.

## Playlist

![](/files/-LNZgznl0yPkBmLlcaje)

Use it to select the song you want to play.

## Random Player option

![](/files/-LNZgznnoKYWDCaFx8to)

TrainYourEars can jump to a random song each time you start a new quiz. This is interesting because each quiz will be totally different from the previous one.

It is recommended when you want to make the current exercise more challenging.

## Waveform

![](/files/-LNZgznp5I6zQGOzaq53)

Click to jump to different parts of the song or create loops (explained in the **audio loop** section.)

## Audio Player Controls

![](/files/-LNZgznrBNPCsnpBcdHB)

You can go the previous song, the next song, stop, pause and play.

There are two additional buttons. The first one let's you loop over a defined section (Audio Loop) and the second one over the whole song (Song Loop).

{% hint style="info" %}
You can also control Play/Pause using the spacebar.
{% endhint %}

### Audio Loop

If you click and drag on the waveform you will create a loop, marked in red (as seen in the waveform image). If you select the button labelled as `Loop`, the audio will be looped over that section.

{% hint style="info" %}
If you have activated the Random Player option, the loop will be lost once you start a new quiz and TrainYourEars jumps to another song and time.
{% endhint %}

### Song Loop

If you click on the button labelled as `Song` the whole song will be played again once it has finished.

## Note: Audio may be muted

Sometimes you can see a piece of advice like this:

![](/files/-LNZgzntBaqgTrdGmymy)

This happens when your current exercise has the option `Mute and play it only for X seconds`. Don't worry if you don't hear anything, the audio will start when you start the quiz.


# Noise Player

In the Noise Player, you can select `Pink Noise` or `White Noise`.

![](/files/-LNZh-5CsYPwqqi8fNs_)

Noise is usually recommended for training, but only in the beginning.

## Pink Noise

It is defined by: "Each octave carries an equal amount of energy."

![](/files/-LNZh-5E7-9zrgLo31K-)

The frequency balance is perceived as "flat" for the human hear. It can be good to use it for a while when you have never trained with this method before and need to figure out how it works.

Once you get the concept of this training, it's best to move to the music you are interested in.

## White Noise

It is defined by: "Each frequency carries an equal amount of energy."

![](/files/-LNZh-5GhYEHo_Mnyk9J)

To the human ear, it appears to have more energy in the high frequencies.

It is less recommended for training but it can be useful when you want to keep training with noise during more time and you have already learned how the `Pink Noise` sounds exactly.


# Live Player

In the Live Player, you can route whatever you want, like an external source (iPod, radio, instrument, another computer) or an internal source (iTunes, Spotify, SoundCloud).

![](/files/-LNZh026YQrznh2t-hLp)

## External Source

1. Connect the signal you want to use to the inputs of your audio interface.
2. Click on the `Open SoundCard Options` button and choose your audio interface as `Input Device`.

![](/files/-LNZh028a7Lkzq-AX6VE)

1. Finally, choose the input channels you are using to route the signal.

![](/files/-LNZh02AslUbIZTKm8l3)

## Internal Source

In order to route audio from other programs running inside your computer, you need an internal router. We use `BlackHole` in OSX and `VB-CABLE` in Windows. Both are free and work really well.

### OSX Internal Routing with BlackHole

First, install BlackHole.

1. [Download BlackHole](https://cdn.trainyourears.com/assets/BlackHole.v0.2.6.pkg) to your computer.
2. Open the `dmg` file.
3. Launch `BlackHole.v0.2.6.pkg` to install it.
4. Agree to the License terms and install it.
5. Restart your computer.

Now, open **TrainYourEars** and route the signal.

1. Choose `BlackHole (16ch)` as input in **TrainYourEars**.

![](/files/-MA03aGeEjpBXQ-Cqa_T)

1. Alt+click on the volume icon of the menu bar.

![](/files/-MA04CP38I782E9aFU1_)

1. Choose `BlackHole (16ch)` as output in your system.
2. Now any signal played in your computer should be routed to **TrainYourEars**.

Once you have finished your training, remember to select your normal output again.

{% hint style="info" %}
If you hear noises try switching to `ad_portaudio Core Audio` driver instead. In certain computers, it works better than `Core Audio`.
{% endhint %}

### Windows Internal Routing with VB CABLE

First, install VB-CABLE.

1. [Download VB-Cable](http://www.vb-audio.com/Cable/index.htm) to your computer. Scroll down until you see the orange DOWNLOAD button:

![](/files/-LNa832boVO2iYSXjbBf)

1. Unzip the `zip` file.
2. Right-click on `VBCABLE_Setup_x64.exe` and choose `Run as Administrator`.

![](/files/-LNZh02IMk7PyzZgLQvA)

{% hint style="info" %}
If your system has only 32bits, run **VBCABLE\_Setup.exe** instead.
{% endhint %}

1. Click on `Install Driver`.
2. Restart your system.

Now, open **TrainYourEars** and route the signal.

1. Choose `CABLE Output (VB-Audio Virtual Cable)` as input in **TrainYourEars**.

![](/files/-LNZh02K_zdx-YTw75qi)

1. Right-click on the volume icon and choose `Playback Devices`

![](/files/-LNZh02MEYwWr3GW36rq)

1. Click on `Cable Input` and then on `Set Default`.

![](/files/-LNZh02OJyYnImT8QV9p)

1. Now any signal played in your computer should be routed to **TrainYourEars**.

Once you have finished your training, remember to select your normal output again.


# OPTIONS


# General Options

In this screen, you can configure the general options of TrainYourEars. Keep scrolling for a detailed explanation of each option.

![](/files/-LNZh-HghezIYUpXk23F)

## SoundCard Options

Here you can choose between your audio interfaces, drivers and other stuff like latency or input/output channels.

![](/files/-LNZh-HiHmcFsik69Oto)

### Audio Driver

The first thing you need to choose is the audio driver.

In OSX, `Core Audio` is recommended.

In Windows, it depends on the audio interface you are using. If it is a built-in sound card which doesn't support ASIO, you can use either `Direct Sound`or `MME`. If you are using an ASIO-compatible sound card then choose ASIO because the latency will be way much smaller.

When you have selected the audio driver you want to use, various input (Input Channels, Input Device, and Input Source) and output (Output Channels, Output Device) settings will become available based on the audio driver you choose.

### Input Device

If you are using the [Live Player](/player/live) you will have to select the input device here.

Click on the Input Device pop-up menu and choose the source you want to use from the menu.

### Output Device

Click on the Output Device pop-up menu and choose the destination you want to use from the menu.

### I/O and Signal Vector Sizes

Use them to adjust the latency of your soundcard. If you hear clicks or pops, increase their values.

### Monitoring CPU usage

*CPU Utilization* displays a rough estimate of how much of your computer's CPU is being allocated for crunching audio in TrainYourEars. You can limit it if you want, but it is not recommended.

### Input and Output Channels

If you want to monitor the signal for other outputs different than 1-2, then choose them here.

If you are using the [Live Player](/player/live) with an external input, you can choose the input channels here as well.

## Language

Choose the language of TrainYourEars

![](/files/-LNZh-HkBvtgR0p-C3bw)

**English, Spanish, German, French, Russian, Italian, Turkish, Polish and Dutch** are available, but we will keep adding more.

If you want to help us with the translation of any other language not currently available in TrainYourEars, or the translation of these docs to your language, [send us an email](https://www.trainyourears.com/contact/).

## Audio Waveforms

![](/files/-LNZh-HmsDtu89sGeTtB)

You can turn off the generation of audio waveforms. This can be useful in old computers with only one core, or if you use very big files.

## Keyboard Shortcuts

You can assign different shortcuts for the common buttons of the Training process. To assign a new shortcut, just press on `Choose another` and then on the key you want to use.

![](/files/-LNZh-HohyZpFbXZbIuG)

*Please note that only letters and numbers are allowed.*

{% hint style="info" %}
You can control the Audio Player play/pause using the spacebar.
{% endhint %}

## Total Score Calculation

You can change the number of quizzes used to calculate the `Total score` value of each exercise. It is useful so you don't have to reset the score and quizzes of your exercises, you can keep doing them and the `Total Score` will reflect your improvements in a more accurate way.

Reduce it if you want to give more importance to your last results. Increase it if you want to know how well you are doing for a longer time.

![](/files/-LNZh-HqMDtLd5rNMaBU)

Changes will affect only after a restart of TrainYourEars.

## VST/AU Plugins

You can use up to 3 monitoring plugins inside TrainYourEars, like for example [*Sonarworks Reference*](http://bit.ly/2wlCnd6) or [*Waves NX*](http://www.waves.com/plugins/nx).

![](/files/-LNZh-HsZMb-pIzIoy19)

To load a VST/AU plugin, click on `Load Plugin and go to the plugins folder:`

* In **OSX** the AU plugins folder is on `/Library/Audio/Plugins/Components` and the VST plugins folder is on `/Library/Audio/Plugins/VST`. You can use either 32 or 64bit plugins.
* In **Windows** the VST plugins folder is usually on `C:\Program Files\Steinberg\VstPlugins`. Right now TrainYourEars only supports 32bit plugins.

![](/files/-LNZh-HuRaHGG6PjVOhB)

### Waves plugins

Waves plugins don't work like the rest of the plugins. Instead of individual files, they use a common file called *WaveShell*.

If you want to use a Waves plugin (like [Waves NX](http://www.waves.com/plugins/nx)), you have to load the *WaveShell* file first. Then, you can choose the plugin you want in the dropdown which will appear on the right.

![](/files/-LNZh-Hw6JZzb7t9PSBL)


# Exercise Designer

In this screen, you can choose the exercise you want to use and create new ones.

![](/files/-LNZh0nypNhVt4Ys6zUD)

## Exercise List Buttons

![](/files/-LNZh0o-qWwkzw2c6jW-)

### New

Create a new exercise at the end of the list. Once you have created it, select it and click on the `Edit exercise` button to change its name and parameters.

![](/files/-LNZh0o1MpbwIb-UYLfL)

### Duplicate

Same than `New` but creates a duplicate instead of a new one. Click on `Edit exercise` to change it.

### Delete

Delete the selected exercise. Be aware, this cannot be undone.

### Import

Select an exercise file (in `json` format) in your hard drive and load it into TrainYourEars.

### Export

Save the selected exercise to your hard drive so you can recover it later or send it to your friends. The exercise is saved in `json` format.

## Edit exercise

Click here to go to the :doc:`exercise-editor` screen to edit the selected exercise.

## Reset quizzes & score

Click here to reset both quizzes and score to `0` for the selected exercise.

![](/files/-LNZh0o34mqgnhhqAT2s)

{% hint style="info" %}
If you want to improve the score of your exercise you can keep doing quizzes, you don't have to reset it if you don't want to. Remember that the score is calculated with the last X quizzes. X is selected on [General Options](/options/general).
{% endhint %}


# Exercise Editor

In this screen, you can edit the selected exercise and adjust its parameters.

![](/files/-LNZh-YQA4lpXOSu2wu4)

Changes in this screen will be saved automatically.

## Name

Change the name of the exercise.

{% hint style="info" %}
If you are editing a new exercise, please give it a proper name first.
{% endhint %}

## Description

Change the description of the exercise.

If you share your exercise with others, or you designed the exercise some time ago, the description will help you remember what you were thinking when you created it in the first place.

## Mode

**TrainYourEars 2** has two different modes, `Guess` and `Correct`.

### Guess

This mode is the same that was available on *TrainYourEars 1*.

You have to **guess** the parameters used in the random equalisation just by listening to the modified signal.

It has these 4 steps:

1. You hear the original signal.
2. You hear it again, but this time with a random equalisation applied.
3. **You guess which parameters were used, and you enter them in the software.**
4. You finally see if you were right or wrong.

{% hint style="info" %}
This method has been used for over 40 years by many teachers. In the past, there were exercises saved on CD's or even tapes, where you had to write down the answers. Now with TrainYourEars you don't have those limits anymore.
{% endhint %}

### Correct

This mode is new in TrainYourEars 2.

In this mode, you have to find the opposite of the random equalisation to get the sound of the original signal again, but this time you can listen while you guess. The tricky part is that you cannot go back and listen again to the original signal.

It has these 4 steps:

1. You hear the original signal.
2. You hear it again, but this time with a random equalisation.
3. **You use the EQ to correct the signal and make it sound like the original again.**
4. You finally see if you were right or wrong.

Making the signal sounds like the original again means you have to find the opposite EQ, so the result is flat again.

{% hint style="success" %}
The person who suggested this method to us in the first place was Bob Katz, a renowned mastering guru. We tested it, we loved it, so here it is for all you to enjoy!
{% endhint %}

## Audio Options

Here you can configure the things which happen after, before and in between of the `Original` and the `Equalised` signals.

### Original Audio

![](/files/-LNZh-YSLS-GSqSOh2C2)

There are two options:

* If you choose the first one, you will have to listen to the `Original` signal before clicking on the `Start Quizz` button.
* If you choose the second one, the audio will be `Muted` until you click on the `Start Quizz` button. Once you have clicked, you will hear it only for the time selected in the box. This makes the exercise more challenging.

### Audio between Original and Equalised

This is the audio you hear between the `Original` and the `Equalised` signal.

![](/files/-LNZh-YU4DKTo2SfdVak)

When you hear both signals (`Original` and `Equalised`) one right after the other, it is easier to pinpoint the difference.

If you want to make the exercise more challenging, you can use a silence, a distraction voice or a sound between both signals.

There are four options:

* **Don't do anything**: It will play the `Equalised` signal right after the `Original` signal.
* **Play silence for** `X` **seconds**: It will mute the signal during the time selected.
* **Play a distraction voice**: It will play a voice after the `Original` signal.
* **Play a distraction sound**: It will play a sound after the `Original` signal. This sound does a sweep of all frequencies.

### Equalised Audio

![](/files/-LNZh-YWquEu3a5WrHGv)

There are two options:

* **Don't deactivate**: Hear the equalised signal as much as you want.
* **Auto-deactivate after** `X` **seconds**: Hear the equalised signal only for the time selected.

{% hint style="info" %}
This option is only used in **Guess** mode. In **Correct** mode, you will hear the **Equalised** signal always while equalising to get the sound of the **Original** signal again.
{% endhint %}

### Audio between Equalised and Original

This is similar to **Audio between Original and Equalised** but used after hearing the `Equalised` signal.

![](/files/-LNZh-YYuKQEGMK1XmHT)

Like the other ones, use this option to make the exercise more challenging.

## Band Parameters

This is one of the most important screens because it lets you configure the exercise.

![](/files/-LNZh-Y_YS6wM_wrDT0l)

It has 8 different parts. Let's see what they do.

### 1. Active Bands

Toggle active bands for the current exercise.

Most beginner exercises only have one band. But when you improve your skills, training with more than one band at the same time will be very useful. Note that many real sound engineering tasks involve more than once frequency balance issue at the same time, so get prepared for it!

### 2. Selected Band

Click in the different bands to edit them.

### 3. Frequencies

The frequencies you choose here will be used to generate the random equalisation.

If you click on `1 Octave` or `1/3 Octave` it will override your settings with those common values.

### 4. Gains

The gains you choose here will be used to generate the random equalisation.

If you want to train only boosts, unselect all the negative values and if you want to train only cuts, unselect all the positive values.

{% hint style="info" %}
`Low Cut`, `High Cut` and `Band Pass` filters do not have a gain value, so this won't have effect if the random equalisation ends up selecting one of those filters.
{% endhint %}

{% hint style="info" %}
In `Correct`mode, gains still modify the signal accordingly but you will have to find the opposite gain in the exercise. That means that when you hear a boost, you should find the opposite cut and when you hear a cut, you should find the opposite boost. 
{% endhint %}

### 5. Q factors

The Q factors you choose here will be used to generate the random equalisation.

Q factor controls the bandwidth—or number of frequencies—that will be cut or boosted by the equaliser.

* The lower the Q factor, the wider the bandwidth (and the more frequencies will be affected).
* The higher the Q factor, the narrower the bandwidth (and the fewer frequencies will be affected).

![](/files/-LNZh-YbKKNT93PGbmBG)

### 6. Filter Types

The filter types you choose here will be used to generate the random equalisation.

There are 6 different filter types:

* **Band**: it makes a boost (peak) or a cut (dip) in the frequency response. It is the most common filter and it is also known as *peak* filter.

![](/files/-LNZh-YdPNQu247qAm5V)

* **Low Cut**: it doesn't modify the part of the signal with a frequency higher than its *cut frequency* but it removes the part of the signal where the frequency is lower than its *cut frequency*. It is used to cut unwanted low-frequency signals and it is also known as a *high-pass* filter.

![](/files/-LNZh-YfDPWRsxy4gD5O)

* **High Cut**: it doesn't modify the part of the signal with a frequency lower than its *cut frequency* but it removes the part of the signal where the frequency is higher than its *cut frequency*. It is used to cut unwanted high-frequency signals and it is also known as a *low-pass* filter.

![](/files/-LNZh-Yh4xe3YmAJYLft)

* **Low Shelf**: it doesn't modify frequencies above its *shelf frequency* but it increases or reduces frequencies below its *shelf frequency*. It is used to correct low-frequency signal unbalances.

![](/files/-LNZh-YjxiTxzAyG_9gi)

* **High Shelf**: it doesn't modify frequencies below its *shelf frequency* but it increases or reduces frequencies above its *shelf frequency*. It is used to correct high-frequency signal unbalances.

![](/files/-LNZh-YlNMhwE_HCbP2M)

* **Band Pass**: it passes frequencies within a certain range and rejects (attenuates) frequencies outside that range. It is not used in audio applications but can be useful to train.

![](/files/-LNZh-YnlA2PJ2WCtMGd)

### 7. Low/High Cut and Shelf Q factors

Sometimes you want to train at the same time with `Band` and `Low/High Cut` or `Low/High Shelf` filters, but you don't want to train Q factors.

This option freezes the Q of those `Low/High` filters to 0.8 and 1.2Q, which is the standard. The `Band` filter will have the Qs you choose in the `Q factors` section.

Remove this option only when you want to specifically train the Q factors of `Low/High Cuts` and `Low/High Shelf` filters.

### 8. Add "no change"

If you check this option, the random equalisation generator can assign "no change" to this band and the original signal won't be affected.

{% hint style="info" %}
If you are training with more than one band, the other bands can still modify the original signal.
{% endhint %}


# TRAINING


# Training in Guess Mode

Time to start the training!

First, we will explain how to train with a `Guess` exercise. This was the only mode available on TrainYourEars 1.

Remember, in `Guess` mode you have to **guess** the parameters used in the random equalisation just by listening to the modified signal.

Each quiz has these 4 steps:

1. You hear the original signal.
2. You hear it again, but this time with a random equalisation applied.
3. You **guess** which parameters were used, and you enter them in the software.
4. You finally see if you were right or wrong.

{% hint style="info" %}
This method has been used for over 40 years by many teachers. In the past, there were exercises saved on CD's or even tapes, where you had to write down the answers. Now, with TrainYourEars, you don't have limitations anymore.
{% endhint %}

## 1. Listen to the original signal

This the first screen you will see before starting the quiz:

![](/files/-LNZh0zDu-lEUUt9jwWj)

All you have to do is listen carefully to the `Original` signal. Once you think you are ready, press the `START QUIZ` button to hear the `Equalised` signal.

If your current exercise has the `Muted` option activated, you won't hear anything and you will see this screen instead:

![](/files/-LNZh0zFcTIQC_YJVbRt)

Don't worry, just press the `START QUIZ` button and you will be able to hear the `Original` signal for the number of seconds you have selected in the :doc:`exercise-editor` option.

{% hint style="info" %}
If you have selected `Silence`, `Distraction voice` or `Distraction noise` between the **Original** and the **Equalised** signals, you will hear it before the next step.
{% endhint %}

## 2. Listen to the equalised signal

Now you are listening to the equalised signal. The program has applied a random equalisation based on the ranges you have selected in the :doc:`exercise-editor`.

For example, if you selected two gains, `+12dB` and `-12dB` there is a 50% of chance that TrainYourEars will choose `+12dB` and a 50% of chance that TrainYourEars will choose `-12dB`.

![](/files/-LNZh0zHY2fzhc72UzXH)

## 3. Guess the parameters used

In `Guess` mode you can go back and forth between the `Original` and the `Equalised` signal so feel free to click on the `Listen Original` button if you are not sure about the answer.

{% hint style="info" %}
If you have selected `Silence`, `Distraction voice` or `Distraction noise` between the **Equalised** and the **Original** signals, you will hear it when you click on **Listen Original** again.
{% endhint %}

As you can see some `Answer Bands` have appeared on the screen. You will have to use them to select your answers.

### Answer Bands

![](/files/-LNZh0zJ8gP1wvL3_tSi)

They have three fields, Filter type, Q factor and Gain.

1. **Filter type**:
   * If you have selected more than one `Filter type` or your exercise has more than one band with different `Filter types`, you can select here the type of filter you think the answer is.
   * If there is only one `Filter type` available, it will just appear in green.

![](/files/-LNZh0zLgN46fF7wT3YJ)

1. **Q Factor**:
   * If you have selected more than one `Q factor` or your exercise has more than one band with different `Q factors`, you can select here the type of Q factor you think the answer is.
   * If there is only one `Q factor` available, it will just appear in green.

![](/files/-LNZh0zNROVhCBZY98d2)

1. **Gain**:
   * Select the gain you think the answer is.

![](/files/-LNZh0zPJuo_I9mW7XUL)

{% hint style="info" %}
If your exercise has only one dB choice above and/or below 0dB, you may just click above or below. If there are more than one positive or negative dB choices,  you’ll need to slide it to select your dB answer.
{% endhint %}

### Valid Answers

When you have selected those three fields correctly, the band becomes a `Valid Answer` and a green checkmark appears above it.

It looks like this:

![](/files/-LNZh0zRj_F-bFTNWqbt)

**Be aware: A 'Valid Answer' doesn't mean you are right, it only means TrainYourEars will validate it once you click on the 'SHOW SOLUTION' button.**

Once you have selected all the answers, it's time to see if you were right or wrong.

## 4. Check if you were right or wrong

Click on the `SHOW SOLUTION` button.

You will see a screen like this:

![](/files/-LNZh0zTtSICNbabOOKn)

Let's analyze the things that changed.

### Answers and Solution Bands

`Answers` have turned orange and `Solutions` have appeared below in blue.

A cable connects each `Solution` with the closest `Answer` and above the answer the `Score` of that match, from 0 to 100.

If the random equalisation selected was `No-Change` you will see this symbol in the Solutions section:

![](/files/-LNZh0zVAsjYWsEB2Vqq)

Or in red if you didn't answer correctly:

![](/files/-LNZh0zXKEuzAUtgmHNK)

### Equaliser Section

In the equaliser section you can compare the three signals:

1. **Equalised**:

Click on the blue `EQUALISED` button.

![](/files/-LNZh0zZGoe2PqcBhvMF)

1. **Your Answer**:

Click on the brown `YOUR ANSWER` button.

![](/files/-LNZh0zaKbZBOARMxq0z)

1. **Original**:

Click again on the `EQUALISED` or the `YOUR ANSWER` button and you will hear the `Original` signal.

![](/files/-LNZh0zclVLWawWYGrXh)

If you failed, compare the signals until you think you got the difference between them. Don't worry too much if it seems difficult at first, you will learn it by repetition.

### Score

The average score for all the bands of the current exercise appears in the left corner of the equaliser:

![](/files/-LNZh0zemU0D0CH1ZjZ6)

This is different from the `Total Score` which appears in the title bar, which means the average score of all the quizzes you have done so far.

![](/files/-LNZh0zgcL3eoi__x9CF)

Once you are ready to start a new quiz, click on `RESET QUIZ` button.


# Training in Correct Mode

TrainYourEars has a new training method called `Correct`.

In `Correct` mode you have to find the exact opposite EQ of the random equalisation so they cancel each other out. This time, you can listen to what you are doing, so it's not a blind test like the `Guess` mode. The trick here is that you can't go back to hear the original signal once the quiz has started.

Each quiz has these 4 steps:

1. You hear the original signal.
2. You hear it again, but this time with a random equalisation applied.
3. You use the EQ to **correct** the signal and make it sound like the original again.
4. You finally see if you were right or wrong.

{% hint style="info" %}
The person who suggested this method to us in the first place was [Bob Katz](https://en.wikipedia.org/wiki/Bob_Katz), a renowned mastering guru. We tested it, we loved it, so here it is for all you to enjoy!
{% endhint %}

## 1. Listen to the original signal

This the first screen you will see before starting the quiz:

![](/files/-LNZh0qbMjlNfxzuRCEL)

All you have to do is listen carefully to the `Original` signal. Once you think you are ready, press the `START QUIZ` button to hear the `Equalised` signal.

If your current exercise has the `Muted` option activated, you won't hear anything and you will see this screen instead:

![](/files/-LNZh0qdZIQuYbf7wCtl)

Don't worry, just press the `START QUIZ` button and you will be able to hear the `Original` signal for the number of seconds you have selected in the :doc:`exercise-editor` option.

{% hint style="info" %}
If you have selected `Silence`, `Distraction voice` or `Distraction noise` between the **Original** and the **Equalised** signals, you will hear it before the next step.
{% endhint %}

## 2. Listen to the equalised signal

Now you are listening to the equalised signal. The program has applied a random equalisation based on the ranges you have selected in the :doc:`exercise-editor`.

For example, if you selected two gains, `+12dB` and `-12dB` there is a 50% of chance that TrainYourEars will choose `+12dB` and a 50% of chance that TrainYourEars will choose `-12dB`.

![](/files/-LNZh0qfsP8sKgyzx_9h)

## 3. Make it sound like the original again

As you can see some `Answer Bands` have appeared on the screen. You will have to use them to select your answer.

In `Correct` mode you have to use those `Answer Bands` to modify the signal and make it sound like the original again. That means you will hear the changes and can keep modifying the signal until you are confident you are hearing a flat (no equalised) signal.

Unlike the `Guess` mode, you can't go back to hear the `Orginial` signal. You have to remember how it sounds and try to match that sound. This is the mental effort of this method.

### Answer Bands

![](/files/-LNZh0qhXACgBp2UPgv8)

They have three fields, Filter type, Q factor and Gain.

1. **Filter type**:
   * If you have selected more than one `Filter type` or your exercise has more than one band with different `Filter types`, you can select here the type of filter you think the answer is.
   * If there is only one `Filter type` available, it will just appear in green.

![](/files/-LNZh0qjI7Mgiz8DIqeX)

1. **Q Factor**:
   * If you have selected more than one `Q factor` or your exercise has more than one band with different `Q factors`, you can select here the type of Q factor you think the answer is.
   * If there is only one `Q factor` available, it will just appear in green.

![](/files/-LNZh0ql60Oz0acuCYhP)

1. **Gain**:
   * Select the gain you think the answer is.

![](/files/-LNZh0qnsKllhgJoV9jv)

{% hint style="info" %}
If your exercise has only one dB choice above and/or below 0dB, you may just click above or below. If there are more than one positive or negative dB choices,  you’ll need to slide it to select your dB answer.
{% endhint %}

### Valid Answers

When you have selected those three fields correctly, the band becomes a `Valid Answer` and a green checkmark appears above it. At that moment, you will hear its effect on the signal.

It looks like this:

![](/files/-LNZh0qpQSgqvRflcScF)

There are two really **important things** to note here:

1. **A** `Valid Answer` **doesn't mean you are right, it only means TrainYourEars will validate it once you click on the** `SHOW SOLUTION` **button.**
2. **You won't hear any change in the sound until an answer is a** `Valid Answer`. **That means that even if you choose a** `Gain` **you won't hear it until you choose a** `Filter type` **and** `Q factor` **and the green checkmark appears.**

### Graphic Equaliser

In `Correct` mode you can see the EQ applied by you with the `Answer Bands` in the graphic equaliser.

When there isn't any `Valid Answer` you will be hearing only the signal with the random equalisation (blue question mark):

![](/files/-LNZh0qrXHD6rRGue99O)

When you select a `Valid Answer`, you will hear that EQ applied to the signal.

![](/files/-LNZh0qt5OieOrGp_q8z)

You will be listening to both the random equalisation (blue) and your guess (orange) at the same time.

Once you have selected all the answers and you think the signal sounds like the `Original` again, it's time to see if you were right or wrong.

## 4. Check if you were right or wrong

Click on the `SHOW SOLUTION` button.

You will see a screen like this:

![](/files/-LNZh0qvoIQxG5yJ8O6f)

Let's analyze the things that changed.

### Answers and Solution Bands

`Answers` have turned orange and `Solutions` have appeared below in blue.

A cable connects each `Solution` with the closest `Answer` and above the answer the `Score` of that match, from 0 to 100.

If the random equalisation selected was `No-Change` you will see this symbol in the Solutions section:

![](/files/-LNZh0qxNqbVcgFauz6T)

Or in red if you didn't answer correctly:

![](/files/-LNZh0qz0TxQ4RMHxt0_)

### Equaliser Section

In the equaliser section you can compare the three signals:

1. **ORIGINAL**:

Click on the blue `ORIGINAL` button.

![](/files/-LNZh0r0o7v7G0FM29HW)

Although you are listening to the `Original` signal, which is flat and doesn't have any EQ applied, you will see two things in the graphic equaliser:

1. The light blue curve is the random equalisation.
2. The dark blue curve is the solution: the exact opposite of the random equalisation.

When both curves are mixed together, the result is a flat signal.

1. **EQ + ANSWER**:

Click on the `EQ + ANSWER` button.

![](/files/-LNZh0r2k_8aqjPUmgQ4)

If you compare both equalisers one after the other, you can see how far where you from the correct solution:

![](/files/-LNZh0r4SkaCfoI4H2j2)

If you failed, compare the signals until you think you got the difference between them. Don't worry too much if it seems difficult at first, you will learn it by repetition.

1. **EQUALISED**:

Click again on the `ORIGINAL` or the `EQ + ANSWER` button and you will hear the `EQUALISED` signal.

![](/files/-LNZh0r6ZEagHduCeFjV)

### Score

The average score for all the bands of the current exercise appears in the left corner of the equaliser:

![](/files/-LNZh0r8zccTg8-CxhuG)

This is different from the `Total Score` which appears in the title bar, which means the average score of all the quizzes you have done so far.

![](/files/-LNZh0rAUf2ZqtUuvsMX)

Once you are ready to start a new quiz, click on `RESET QUIZ` button.


# LIVE TRAINING VIDEOS

The sound engineer and tutor at [XSSR Academy](http://xssracademy.com/), **Alex Mars**, has created these video series to show you how to get started with TrainYourEars, and how to train with our different exercises. Check them out!

* [Live Feedback Video](/live-training-videos/live-feedback)
* [Pop Rock Instruments Video](/live-training-videos/pop-rock-instruments)
* [2 Bands in a 7 Frequencies Equalizer Video](/live-training-videos/2-bands-in-7-frequencies-equalizer)

All videos are available in our [Youtube channel](https://www.youtube.com/playlist?list=PLWr9mXbztiwuAZZKS5OzBwX3jYpioGDMl) too. Happy training!


# Live Feedback

Have you ever heard **feedback at a concert**? Annoying, right? Way worse when you are the sound engineer and everybody looks at you!

In this video Alex Mars, from [XSSR Academy](http://xssracademy.com/), shows you how to train your ears to catch those feedbacks as quickly as possible. The **Live Feedback Exercise** emulates the sound of feedback which is "about to happen".

{% embed url="<https://www.youtube.com/watch?v=_sGiKlSLRJc>" %}


# Pop Rock Instruments

In this video, the sound engineer Alex Mars ([XSSR Academy](http://xssracademy.com/)) shows you how to train your ears with a pack of exercises called **Pop Rock Instruments**.

These exercises have been created by Jørn-Arild Grefsrud, music producer and owner of [Tuft Studio](http://www.tuftstudio.no/), and they will help you identify the different frequencies while listening to the most common pop-rock instruments.

Download the Pop Rock Instruments package [here](https://docs.trainyourears.com/exercises/jorn-arild-grefsrud/pop-rock-instruments.html).

{% embed url="<https://www.youtube.com/watch?v=KtEqeSFWVPA>" %}


# 2 Bands in a 7 Frequencies Equalizer

In this video Alex Mars, from [XSSR Academy](http://xssracademy.com/), takes a quick look at a training exercise called "**Find 2 bands in a 7 frequencies equalizer**".

The main goal of this exercise is to find 2 frequencies that are changed in the audio source and correct them. As Alex suggests, listen carefully and don't be afraid to play with the bands. You'll have to make a decision on how the audio sounds and how to make it better.

During the exercise, Alex uses a Coins' album called "Daft Science", available [here](https://coinsmakeyoudance.bandcamp.com/album/daft-science).

{% embed url="<https://youtu.be/Hnx4rpX89NI>" %}


# EXERCISE PACKAGES

These sets of exercises have been created by different users of TrainYourEars, all qualified sound professionals.

Each package covers different topics, but they are all designed to improve your frequency recognition and level up your aural skills. You can introduce changes to make the exercises easier or harder, so they're useful for all levels too: from beginners to professionals.

Train constantly to get better results, and have fun while practicing!

### Andrea Zanini:

* [Beginner Pack](/exercises/beginners)
* [Medium-Advanced Pack](/exercises/medium-advanced)

### Jørn-Arild Grefsrud:

* [Pop Rock Instruments](/exercises/pop-rock-instruments)

### Karél Psota

* [Faking Absolute Pitch](/exercises/faking-absolute-pitch)

### Stephen Kelly

* [Midrange Basics](/exercises/midrange-basics)

### Andrei Georgescu

* [Slow Sound Modulations](/exercises/slow-sound-modulations)
* [Quick Sound Modulations](/exercises/quick-sound-modulations)

## Want to create a pack of exercises?

That's awesome! Email us at <info@trainyourears.com> and let us know what's on your mind. We'd love to hear from you!

## Questions and Feedback

If you have any questions, comments or suggestions about these packages, you can [send us an email](https://www.trainyourears.com/contact/), we'll be happy to help!


# Beginner Pack by Andrea Zanini

This package has been created by the **mastering engineer** Andrea Zanini, founder of [**Owl Mastering**](http://www.owlmastering.com/). He has been using TrainYourEars with students since 2013. It contains 18 exercises designed by him to get you started in frequency recognition.

## Download the package

[**Click here to download the Beginners package.**](https://cdn.trainyourears.com/exercises/zanini/Beginners%20package%20by%20Andrea%20Zanini.zip)

Then unzip it and use the [import](/options/designer#import) button to load the exercises in TrainYourEars.

During the exercises, sometimes Andrea asks you to download additional songs. Scroll down to the **List of Exercises** to find the download links.

## Andrea's introduction:

> One of the essential skills of an audio engineer is the ability to decide "how" to listen to something.\
> Pretty much like a musician, who has to develop the ability to listen to himself/herself and, in the meanwhile, decide how to adjust his/her playing according to what is going on in the music, an audio engineer should be able to mentally dive into the finest details of sound and, at discretion, observe everything from a general perspective.
>
> In order to acquire an unbiased ability to do so, a certain amount of constant training is required.
>
> Music is a constant emotional state so the idea of developing the "skill" to take emotional distance from it is sometimes rejected by the aspiring engineer who looks at this surgeon-like approach like something to be avoided or better left to audio geeks. In fact, it's quite the opposite.
>
> Aural abilities like these will make you a better musician in the first place and a more accurate player but, at the same time, you will be able to apply these skills to your own recordings thus increasing their emotional impact on the listener!
>
> You do not actually need to spend too much time doing these exercises in order to improve, as long as you train constantly.
>
> Before each mastering session, I always spend no more than 5 minutes doing these exercises with Pink Noise in order to warm up for the session. Occasionally, when I sit down to ear-train, I like to go for more extended periods of time but I rarely hit more than 30 minutes. Past a certain threshold, It is simply not beneficial any more.
>
> When practising, try not to exceed 5 minutes per session and practice each exercise with pink noise first and then using one or more songs you know very well. Also, watch your volume! Practice at the lowest possible volume at which you feel comfortable. You can use good speakers or, in alternative, a set of quality headphones (which I recommend for this kind of training).
>
> Make sure you practice the exercises in sequence.
>
> Some exercises will require you to use the multitrack libraries found at <http://www.cambridge-mt.com/ms-mtk.htm> (an incredibly valuable resource for students and pro's of all levels) where all downloads are offered free of charge for educational purposes but you can apply the same exercises to the songs you prefer of course. Also, I recommend you visit the mixes discussion sections where you can take a listen to the users' different mix versions of the same tracks. You will hear how different some of them sound and this gives you valuable info about how different people are when it comes to sound perception.
>
> When you feel confident enough, import al the tracks in your favorite DAW and start experimenting with EQ. Try to create space for each element using only EQ based on the arrangement, role of the instrument and so on.
>
> Follow the instructions as given in each description and most importantly, have fun while practicing! You will improve much faster and for good.
>
> **Quotes:**
>
> *"The most important thing I look for in a musician is whether he knows how to listen." Duke Ellington*
>
> *"I don't believe in geniuses, I believe in hard work" Michel Petrucciani.*

## List of Exercises

### 1. Basic Perception - Boosts and Cuts (9dB's - 0.5Q)

Start trying to spot some simple boots and cuts with a wide Q: 0.5. Can you tell what EQ has been applied to the sound?

### 2. Basic Perception - Boosts and Cuts (9dB's - 1.2Q)

This exercise will not introduce new frequencies but will focus on the impact of Q width. The same EQ than before but now with a Q of 1.2. TIP: Wide EQ settings are good for general tonal balance while narrow bands are used more for correction purposes. You will hear what this means.

### 3. Basic Perception - Boosts and Cuts (9dB's - 3Q)

Is it getting easier or more difficult to spot the right frequency by using a narrower Q value? Probably easier right? This is because wide EQ settings have a big impact on larger frequency intervals and the ear has more difficulty to spot which frequency was used as "center frequency" for that particular setting.

### 4. Basic Perception - Boosts and Cuts (9dB's - 10Q)

As we narrow the Q, we can start memorizing the sound of each central frequency and add in some more frequencies to recognize (8kHz and 16kHz). Notice how, at both ends of the spectrum, it becomes harder to always hear the right change. This is because the ear becomes less sensitive and the tone of the frequencies is less perceivable.

### 5. Basic Perception - Boosts and Cuts (9dB's - 25Q)

The Q is now very narrow. This level of precision is usually only used for correcting resonances or imbalances on single notes. Because the interval is very small, the distinct sound of frequencies can be recognized easily. 200Hz, 2kHz and 5kHz have been added to the exercise.

### 6. Obscure Matters - The Low End - 20Hz to 80Hz

The low end of a track can be problematic as it carries a lot of energy. Too much of it a your music will sound muffled and boomy. A good trick to avoid mistakes is to think in terms of relative volumes and fight the urge to hear the low end clearly in a mix.

### 7. The 20Hz Challenge - Is it there?

Many engineers routinely filter this range out as it swallows up a good deal of headroom and it contains almost no musical information. Some others feel it is missing when it is not there. This exercise is only apparently easy. Can you hear down there? Can you manage to feel the difference? Don't be fooled by yourself! (You need a subwoofer for this).

### 8. Tuning in - The Low End - 40Hz to 100Hz

This exercise is a good way to start analysing the lowest frequencies characteristic sound. 40Hz boosts can be easy to recognize but 64Hz and 80Hz cuts are tricky. Make sure you take the time to learn what to expect from this range. With proper training you will achieve perfect low end balance in your mixes.

### 9. Tuning in - Low-Mids - 125Hz to 500Hz - 3Q

The warmth and body of many instruments reside between 120 and 500 Hz. Given the crucial nature of this range (as it contains a lot of musical information) achieving clarity and separation here is vital and can be done with judicious use of EQ as well as proper song arrangement.

### 10. Tuning in - Mids - 630Hz to 1250Hz - 3Q

This range includes the low-order harmonics of many instruments like male and female vocals, snare, kick, toms, cymbals and a lot of string and brass instruments. Sice harmonics and partials are responsible for the timbre of an instrument make sure you do not make the mistake of routinely take this range away. Try to achieve balance!

### 11. Tuning in - High Mids - 1600Hz to 3150Hz - 3Q

High Mids carry the percussive attack of most percussion instruments, vocal recognition, guitar presence, brass presence and much more. Too much of this range, if not balanced, will cause listener's fatigue.

### 12. Tuning in - High There! - 4kHz to 8kHz - 10Q - 9dB's

High Frequencies from 4kHz to 8kHz are responsible for the clarity and definition of a mix. They carry the higher order harmonics of many instruments and they are usually increased to add presence to a song or individual instruments. Pay attention to sibilance though. Too much boosting and you will end up with the typical amateur-sounding harsh mix

### 13. Tuning in - Brilliant! - 10kHz to 20kHz - 10Q - 9dB's

The highest harmonics are essential to the sense of space, air and brilliance of a song. Very little boosting / cutting goes a long way here. Do not panic if you feel that 16kHz or 20kHz are hard to discern. Those frequencies sit at the top of what humans can hear and they are more felt rather than heard. It takes practice to perceive them clearly.

### 14. Style: Rock Blues - Mid-Range Clean-up

[Download Peter White - 'The Blues Is A Lady'](http://www.cambridge-mt.com/ms-mtk.htm#PeterWhite_TheBluesIsALady) - If you listen to the multitrack excerpt you will notice the muffled and somewhat muddy sound with undefined bass. This mix, as well as some of the instruments, need serious mid-range clean-up. Use this exercise with the single pre-recorded guitar and vocal tracks.

### 15. Style: Drum & Bass I - Low End Control - +9dB's/3Q

[Download Nervbloc - 'Slapback'](http://www.cambridge-mt.com/ms-mtk.htm#Nervbloc_Slapback) - This track is all about the bass, so we will focus on the bass response. This is a good exercise for studying low end control. You can either use the single bass or drum stems or use [the whole mix](http://www.previews.cambridge-mt.com/Slapback_Full_Preview.mp3).

### 16. Style: Drum & Bass II - Low End Control - +9dB's/3Q & 10Q

[Download Nervbloc - 'Slapback'](http://www.cambridge-mt.com/ms-mtk.htm#Nervbloc_Slapback) - Using the same track as in the previous exercise, we will now make things slightly harder by introducing more frequencies and two different Q factors. There also a 10% no-change probability so keep an ear out!

### 17. Style: Theatrical Pop - Midrange Honkyness

[Drumtracks - 'Ghostbitch'](http://www.cambridge-mt.com/ms-mtk.htm#Drumtracks_GhostBitch) - The vocal track in this song (main excerpt) sounds extremely nasal and resonant. Generally this problem occurs in the range from 700Hz to 2000Hz. This exercise will help you realize what resonance sounds like. Practice this exercise with both the vocal track in isolation and the whole mix.

### 18. Bass Problems - 12 dB's Cuts/Boosts

[DrumTracks - 'Ghostbitch SH's Mix'](http://ow.ly/XNpGp) - Download this version of the mix to practice the next exercise. As you can clearly hear the bass drum response on this one is a bit out of control. Probably it was mixed on a poor system with no proper bass response.

## Questions and Feedback

If you have questions or feedback about this package you can [send us an email](https://www.trainyourears.com/contact/) and we will help you out.

And if you have developed some interesting exercises and you want to share them with the world, that's awesome! Send us an email and we will publish them here :)


# Medium-Advanced Pack by Andrea Zanini

This package has been created by the **mastering engineer** Andrea Zanini, founder of [**Owl Mastering**](http://www.owlmastering.com/). He has been using TrainYourEars with students since 2013. It contains 11 exercises designed by him to sharpen your frequency recognition.

## Download the package

[**Click here to download the medium-advanced package.**](https://cdn.trainyourears.com/exercises/zanini/Medium-Advanced%20package%20by%20Andrea%20Zanini.zip)

Then unzip it and use the [import](/options/designer#import) button to load the exercises in TrainYourEars.

## Andrea's introduction:

> A good way of practicing these exercises is to listen to the isolated frequency (when the band pass filter kicks in) and then listen to the pink noise again.
>
> Do so, back and forth, a few times. Now listen to the pink noise only. Can you spot that frequency and “mentally isolate" it as much as possible from the rest?.
>
> Can you mentally shift from a frequency to another up and down on the spectrum? Imagine you engage an imaginary peak filter and sweep it up and down very slowly. Can you predict how it will sound?
>
> This is easier said than done but this is an incredible exercise for your brain. Let’s be honest. You will not be doing so during an actual session but the fact that you kept practicing will turn your brain into an automatic “frequency radar” even though you are not aware of it.
>
> The brain functions as a powerful "magnifying glass" depending on what aspect of the sound you want to analyze. At some point, pink noise starts to sound like it's made up of single "notes" and you will learn to pick the correct frequencies thanks to their relations in terms of octaves or smaller "intervals".
>
> What kind of sonic character do you feel each particular frequency has? Try to label them in your mind according to what they sound like to you. I.e "1kHz is honky, 6kHz is somewhat "dry" and sibilant, 16kHz is "Airy", and so on. These characteristics are common to all sounds and all instruments.
>
> TIP: Practice these "band pass" exercises with Pink Noise first and then using a couple of songs that you know very well in terms of instruments used, arrangement, and so on. Make sure these songs are in a different key too. You will discover interesting things.

## List of Exercises

### 1. Keeping Concentration - 1s Silence & No Change - +/- 3dB Coosts/Cuts

10% No-Change probability and 1 second of silent going from the Source to the Eq'd sound and viceversa. Good exercise to warm up quickly.

### 2. Full Range (B) - Low Cut / Cuts and Boosts- +/-6dB's - Correct Mode

Very useful exercise to practice EQ corrections on an imbalanced sound source by targeting the right frequency to fix. Target score: at least 90% of correct answers out of 50 attempts.

TIP: Listen to the original sound for a few seconds before attempting each correction, memorize it and once internalized, use it as a mental reference.

### 3. Full Range - Low Cut / Cuts and Boosts- +/-6dB's

In this exercise, you will have to guess, over a wide range of frequencies (64Hz to 16kHz) whether a Low Cut or narrow 6dB-boosts / cuts have been used on the pink noise (10Q factor). The sound will deactivate after 2 seconds. Make sure you listen to the Eq'd sound only once! This forces you to memorize sound variations.

### 4. High-Shelf Warm-up - 4kHz to 20kHz

A good warm-up exercise focusing on high-shelving equalization on the high frequencies.

### 5. Low End Cut - 20Hz to 315Hz

In this exercise you have to guess to what extent the low end has been filtered out from the original signal. Cuts of 6dB's are applied from 20Hz to a maximum of 315Hz. It is your task to guess out the right frequency (Guess Mode). Before moving on to the next exercise, you should score at least 93% of correct answers out of 50 random EQ changes.

### 6. Low End Boosts / Cuts - 64Hz to 160Hz +/- 6dB's

Using pink noise makes it easier to discern tiny EQ variations as little as 1dB or even a fraction of a dB which are generally harder to spot on dynamic material. We will now focus on the lower part of the spectrum that is generally the most problematic when working with dynamic sources.

TIP: When you think of frequencies, think vertically.

### 7. High-Mids - 2kHz to 6.3kHz - Frequency character - Band Pass

The interval from 2kHz to 6kHz is where the attack of most percussion instruments is as well as voice intelligibility and presence. Too much of this range will cause listening fatigue. Just like in the previous exercise, practice until you start to easily recognize the sound of each frequency. Try varying the Q too.

### 8. High Frequencies and "Air Band" - Band Pass

Frequencies from 6 to 12kHz contribute to the sense of detail and definition of sound while frequencies above 16 - 18kHz are more felt than heard: some call it the "air band" as it gives the sound an open character. Too much power in these ranges and the sound will become brittle and harsh, resulting in an unnatural experience.

### 9. Mid-Range - 200Hz to 2kHz - Frequency character - Band Pass

Do frequencies have a character? Sure they do. This exercise will help you mentally isolate the sound of a certain frequency band, (which is narrower than the previous examples - 3Q factor). How does it sound? Try to label it in your head (dry, resonant, honky, harsh).

### 10. Sound Illusions - Midrange

This exercise adds a 10% no-change probability. Boosts and cuts are of 3dB's. We will focus on the midrange first. Why illusions? Sometimes you will perceive a cut on some frequency as a boost on another! This is why it is often said that one should try cutting first, rather than the opposite. Score at least 96% of correct answers out of 50 attempts.

### 11. Sound Illusions - Midrange - Correct Mode

You will have to find the EQ settings that gives you the sound original signal again. 3Q factor. 10% of No-Change probability.

## Questions and Feedback

If you have questions or feedback about this package you can [send us an email](https://www.trainyourears.com/contact/) and we will help you out.

And if you have developed some interesting exercises and you want to share them with the world, that's awesome! Send us an email and we will publish them here :)


# Pop Rock Instruments by Jørn-Arild Grefsrud

Jørn-Arild Grefsrud is a **music producer, mixer** and **studio owner** in Norway. [**Tuft Studio**](http://www.tuftstudio.no/) saw the light of day in June 2000, and has been a full-time occupation since 2006. Through the years, the studio has produced music nominated for the norwegian Grammys, and number one radio-singles.

A wide variety of music is recorded and mixed at Tuft, but it is all **music with** only, or mostly, **played instruments**, no EDM here.

Jørn-Arild is an educated music producer from the norwegian audio engineering school in Oslo, and he has also done mastering courses in London and participated in Mix with the Masters several times.

## Download the package

[**Click here to download the Pop Rock Instruments package.**](https://cdn.trainyourears.com/exercises/jorn-arild-grefsrud/Pop%20Rock%20Instruments%20package%20by%20Jorn-Arild%20Grefsrud.zip)

Then unzip it and use the [import](/options/designer#import) button to load the exercises in TrainYourEars.

There are two exercises folders. One contains "Guess" mode exercises and the other one "Correct" mode exercises.

During the exercises, Jørn-Arild asks you to use specific sound files included in the package. Don't forget to add them all to TrainYourEars' audio player.

## Jørn-Arild's introduction:

> When observing some of the top mixers of the world doing their job, quite often I get surprised by how little they do. The key thing is that they do the exact RIGHT thing, and only that. If you hear a problem and you can go directly to that problem you won't have to do as much as if you start treating frequencies adjacent to the real problem.
>
> Some engineers like to boost a band, and search for problem-frequencies before removing them. I won't say that this is wrong, because I don't want thousands of enemies, hehe, but to me, this isn't optimal. A lot of frequencies will sound bad when boosted, so you cut them. But maybe they were not a problem before you started boosting and searching? Also, your ear adjusts itself all the time, so when you listen to that sharp boost your ears get used to that sound, and the sound that was okay might sound thin or dull after you've been boosting random frequencies.
>
> So, what is optimal? I'd say that the optimal is hearing a sound, and knowing instantly what the problem is, and removing it. If there is too much honky 1kHz, it's great if you can just remove that instead of giving your ears an overdose of 1kHz first.
>
> This is where TrainYourEars enters the picture, and these exercises are made to help you accomplish exactly this. I've recorded tracks with the most common instruments in pop/rock. Pick a guitar-track, and start learning how the different frequencies bother you and fix them. Then try other instruments. The exercises are designed for each instrument and the frequencies in each exercise are typical areas to focus on.
>
> Each instrument has an easy and a harder exercise. Start with easy and do the hard one when the easy one isn't a challenge. But feel free to adjust the exercises yourself! Add frequencies to make it even harder, or remove some if the gap between the two difficulties is too big. And, try and record your own tracks and use the exercises with these exercises. This will help you to understand your own possibilities and where there is room for improvement.
>
> When you practice, always keep the volume as low as you can, your ears will tire quickly if you listen too loud.
>
> If you struggle with an exercise, try this: focus on the attack of the sound, can you hear a difference when you compare the equalized with the original? No? Try the same with the sustain. Still not? Then focus on the lows, an then the highs... No difference? Try listening at a higher volume, and see if there was something in the bass you might have overlooked? No? Maybe it's the same then, it happens. Remember to turn down the volume again if you turned it up.\
> When you make a mistake, always compare your answer with the correct answer. Try and learn what each frequency sounds like. After that you can move on and try again. Always do this! The goal is not the highest score, it is to learn something.
>
> Have fun with this! Practice often and not for too long. Get better at this and your mixes will improve as well!
>
> J-A

## List of Exercises

### 1. Acoustic - Easy

Use one of the fingerstyle or strummed acoustic guitar-files for this exercise. The low E on an acoustic guitar is right above 80Hz. Around 200-300Hz it can get very boomy. Higher in the mids the acoustic can get honky. 3-5kHz is the presence-area, and way up high it competes for the air with vocals and cymbals.

### 2. Acoustic - Harder

Use one of the fingerstyle or strummed acoustic guitar-files for this exercise. The low E on an acoustic guitar is right above 80Hz. Around 200-300Hz it can get very boomy. Higher in the mids the acoustic can get honky. 3-5kHz is the presence-area, and way up high it competes for the air with vocals and cymbals.

### 3. Electric guitar - Easy

Use one of the Clean, Overdrive, Distorted or Lead Guitar-files for this exercise. The electric guitar, if normally tuned, starts at about 80Hz. The midrange can add colour or honkiness, while you get presence from 2-3kHz. Distorted guitars have information above 7kHz, while some cleaner and jazzier guitars have rounded off the high end.

### 4. Electric guitar - Harder

Use one of the Clean, Overdrive, Distorted or Lead Guitar-files for this exercise. The electric guitar, if normally tuned, starts at about 80Hz. The midrange can add colour or honkiness, while you get presence from 2-3kHz. Distorted guitars have information above 7kHz, while some cleaner and jazzier guitars have rounded off the high end.

### 5. Piano - Easy

Use the Piano-file for this exercise. The piano has a massive frequency-register. Covering nearly everything we are capable of hearing. The bass is mainly around 80-150Hz, and attack around 4-6kHz, while there is air from 12kHz and up.

### 6. Piano - Harder

Use the Piano-file for this exercise. The piano has a massive frequency-register. Covering nearly everything we are capable of hearing. The bass is mainly around 80-150Hz, and attack around 4-6kHz, while there is air from 12kHz and up.

### 7. Bass - Easy

Use one of the fingered or picked bass-files for this exercise. Some mellow fingerstyle bass-sounds consist of almost only low-end. A pick introduces more highs, and distortion even more. The fundamentals range from about 40Hz to 300Hz. From 1kHz to 5-6kHz you get attack and pick/string noise.

### 8. Bass - Harder

Use one of the fingered or picked bass-files for this exercise. Some mellow fingerstyle bass-sounds consist of almost only low-end. A pick introduces more highs, and distortion even more. The fundamentals range from about 40Hz to 300Hz. From 1kHz to 5-6kHz you get attack and pick/string noise.

### 9. Kick - Easy

Use the Drm\_Kick-file for this exercise. The kick drum has a fundemental often found around 60Hz, muddiness and boxiness in the low-mids from about 200Hz and up towards 1kHz, attack from 2k and gradually a more clicky sound up to around 8kHz.

### 10. Kick - Harder

Use the Drm\_Kick-file for this exercise. The kick drum has a fundemental often found around 60Hz, muddiness and boxiness in the low-mids from about 200Hz and up towards 1kHz, attack from 2k and gradually a more clicky sound up to around 8kHz.

### 11. Snare - Easy

Use the Drm\_Snare-file for this exercise. The snare drum comes in wide variation of sizes, tunings and sounds. The body can often be found between 100Hz and 250Hz, while there is often some boxiness and woody sounds around 400-500Hz. It gets crispy when you pass 5kHz and there is a lot of air above 10kHz.

### 12. Snare - Harder

Use the Drm\_Snare-file for this exercise. The snare drum comes in wide variation of sizes, tunings and sounds. The body can often be found between 100Hz and 250Hz, while there is often some boxiness and woody sounds around 400-500Hz. It gets crispy when you pass 5kHz and there is a lot of air above 10kHz.

### 13. Toms - Easy

Use the one of the Tom-files for this exercise. The toms can range from quite high pitched with a fundamental above 300Hz, to lower than the kick drum. In rock, it is quite normal to remove boomy mids, somewhere between 300Hz and 7-800Hz, depending on the tom. As with the kick, you get attack when you pass 2k, and click as you approach 8k.

### 14. Toms - Harder

Use the one of the Tom-files for this exercise. The toms can range from quite high pitched with a fundamental above 300Hz, to lower than the kick drum. In rock, it is quite normal to remove boomy mids, somewhere between 300Hz and 7-800Hz, depending on the tom. As with the kick, you get attack when you pass 2k, and click as you approach 8k.

### 15. Cymbals - Easy

Use the Overhead, Ride or High-hat-files for this exercise. The cymbals are often the brightest component of a mix. Below 200Hz, there´s mainly bleed from other drums. Gradually from 200Hz, some cymbals, like the ride, has a low body-sound. From 2k the cymbals are crispy, and around 10kHz and up you get an air and shimmer.

### 16. Cymbals - Harder

Use the Overhead, Ride or High-hat-files for this exercise. The cymbals are often the brightest component of a mix. Below 200Hz, there´s mainly bleed from other drums. Gradually from 200Hz, some cymbals, like the ride, has a low body-sound. From 2k the cymbals are crispy, and around 10kHz and up you get an air and shimmer.

## Questions and Feedback

If you have questions or feedback about this package you can [send us an email](https://www.trainyourears.com/contact/) and we will help you out.

And if you have developed some interesting exercises and you want to share them with the world, that's awesome! Send us an email and we will publish them here :)


# Faking Absolute Pitch by Karél Psota

Three years ago, Karél moved from France to Hollywood in order to pursue his passion for **sound design** and **music composition**. After working along side Grammy-nominated engineer Brad Haehnel, Karél started his own company, *Dissona Musika*. They specialize in music for media and their sounds can be heard in trailers such as Justice League, Pan and San Andreas. Karél has music in more than 20 **award winning short-films**, and has mixed songs with millions of views on YouTube.

You can find more information about Karél's work on [his website](http://karelpsota.com/) or follow him on [Facebook](https://www.facebook.com/karelpsotamusic), [SoundCloud](https://soundcloud.com/karelpsota) and [Instagram](https://www.instagram.com/karelpsota/).

## Download the package

[**Click here to download the Faking Absolute Pitch package.**](https://cdn.trainyourears.com/exercises/karel-psota/Faking%20Absolute%20Pitch%20Package%20by%20Karel%20Psota.zip)

Then unzip it and use the [import](/options/designer#import) button to load the exercises in TrainYourEars.

## Karél Psota’s introduction:

> I've always been jealous of musicians born with perfect pitch. Able to effortlessly name any note or tone by ear seemed like the best tool you could get as a musician and engineer. Was there a way to learn perfect pitch if you weren't born with it? The answer appeared to be no, since it's a genetic mutation. However, I've discovered a technique that's helped me achieve the next best thing.
>
> The idea came when I was introduced to a violinist that could blindly name every note I was playing on my keyboard. When I asked her if she had perfect pitch, her answer was quite unusual:
>
> > *“Actually, I don't. I've just played my instrument for so long that I remember how each open string sounds. From there, I just use relative pitch to figure out the other notes.”*
>
> That was it! Instead of trying to remember every single pitch, I simply had to lock my brain onto a few notes. And then use intervals to figure out the nearby pitches.
>
> Now this is all great if you're a musician transcribing pieces, but how can it help you as an audio engineer?
>
> The concept is the same. You will need to memorize a few frequencies, then try to identify if what you are hearing is above, below or equal to the memorized frequency boost. A good way to understand the exercises is by sharing my typical thought process:
>
> > **An instrument is ringing at 5K:**
> >
> > *“I know how 4K sounds, but this seems to be little bit higher, it must be around 5K”*
>
> Assuming you have practiced with the basic TrainYourEars exercises, you will have a head start since this training is based around the octaves: 64, 125, 250, 500, 1K, 2K, 4K, 8K and 16K. From there, we will progressively add frequencies both above and below.
>
> I've separated the exercises into bands. This will help you memorize the frequencies of reference faster, as they will show up more often. If you're feeling confident you can skip directly to the full band section.
>
> This is not an easy exercise, but has the potential to be extremely rewarding. Start with pink noise\
> and try to reach 95% before moving to the next exercise. Once you complete all the exercises with pink noise, take a break and try again with one song you know really well. After a month of doing just 100 quizzes a day, my accuracy jumped from 50% to 96% on 1/3 of all octaves. You can do it too!
>
> Best of luck!
>
> -Karél

## List of Exercises

### 1. Mid Boost – Step 1

Familiarize yourself with each frequency. A good tip is to use your mouth to simulate the resonance. With a bit of practice, the shape of your mouth can help you figure out the exact frequency that is boosted. The goal is to develop a memory of basic pitches to then use them as a reference for the next exercise.

### 2. Mid Boost – Step 2 (Below)

This is the same as the previous exercise, but with frequencies added right below the ones you memorized. Try to think how they relate to each other - is it the same or below?

### 3. Mid Boost – Step 3 (Above & Below)

You guessed it! This time you have frequencies above and below the frequencies you memorized. Always try to remember the ones you know, and see how they relate to each other.

### 4. Low Boost – Step 1

These frequencies can go quite low so make sure you have a sub or good headphones. The goal is to develop a memory of basic pitches so they can be used as reference for the next exercise. I try to think of how bass sounds in a night club - how does it vibrate bodies?

### 5. Low Boost – Step 2 (Below)

This is the same as the previous exercise, but with frequencies added right below the ones you memorized. Try to discern how they relate to each other - is it the same or below?

### 6. Low Boost – Step 3 (Above & Below)

This time you have frequencies both above and below the pitches you've memorized. Try to recall the ones you've already learned, and listen to how they relate to each other.

### 7. High Boost – Step 1

The goal is to develop a memory of basic pitches and then use them as a reference for the next exercise. I always remember where the “Sss” and “Esh” sounds hit. A boost in the high end always seems to add a lot of presence to these sounds. (Note that I lowered the boost volume to 6dB, so you don't pierce your ears with these high frequencies).

### 8. High Boost – Step 2 (Below)

This is the same as the previous exercise, but with frequencies added right below the ones you memorized. Try to think about how they relate to each other - is it the same or below?

### 9. High Boost – Step 3 (Above & Below)

This time you have frequencies both above and below the pitches you've memorized. Try to recall the ones you've already learned, and listen to how they relate to each other.

### 10. Full Boost – Step 1

You should have perfectly memorized all these frequencies by now. If you achieve more than 95% move on to the next exercise.

### 11. Full Boost – Step 2 (Below)

This is the same as the previous exercise, but with frequencies added right below the ones you memorized. Try to think, how they relate to each other - is it the same or below?

### 12. Full Boost – Step 3 (Above & Below)

This is the final and hardest exercise. Use the octave pitches you memorized as reference: 64, 125, 250, 500, 1K, 2K, 4K, 8K, 16K. You should be able to evaluate how they relate to the newly introduced pitches between them. To make it less difficult practice with pink noise or a song you know really well.

## Questions and Feedback

If you have any questions or feedback about this package you can [contact us](https://www.trainyourears.com/contact/). We'll be more than happy to help you out.

And if you have developed some interesting exercises and want to share them with the world, that's awesome! Just send us an email to the previous email address and we'll publish them here :)


# Midrange Basics by Stephen Kelly

Stephen Kelly is a London-based engineer, producer and founder of [**understandingaudio.com**](http://understandingaudio.com/). His goal is to help you take giant leaps forward on your audio journey.

Originally from Dublin, Stephen’s experience ranges from working in some of Europe’s **top studios**; taking creative lead on sound design for numerous **award-winning animation series**, to working as a consultant for Fortune 500 companies.

Throughout all of those experiences, he has never stopped working with artists and bands in the music industry from across the globe and creating free tutorials to help others like him.

If you want to share your journey with him and let him help you with proven techniques and strategies for success, then join him at [**understandingaudio.com**](http://understandingaudio.com/).

## Download the package

[**Click here to download the Midrange Basics package.**](https://cdn.trainyourears.com/exercises/stephen-kelly/Midrange%20Basics%20Package%20by%20Stephen%20Kelly.zip)

Then unzip it and use the [import](/options/designer#import) button to load the exercises in TrainYourEars.

The .zip file contains two folders: one with "Guess" mode exercises, and the other one with "Correct" mode exercises.

## Stephen Kelly’s introduction:

> Separation of the various frequency ranges (lows, low-mids, high-mids and highs) is not an exact science. Many engineers and many various equalizers will give you a different definition and they very often overlap. For the purposes of these exercises, we will assume that the low-mids are between 250Hz and 2kHz, with the high-mids starting at 2kHz and running to just around the 6kHz mark.
>
> The fundamental frequencies of a lot of instruments lie in the low-mids (250Hz-2kHz). If you want to achieve definition, clear out the mud and really separate your mix well, you will need to get familiar with the frequencies in this range.
>
> The high-mids (2k-6k) contain complex harmonics that our ears pick up on very easily. Loudness, brightness, clarity, presence and speech intelligibility are all associated with this range, so it’s essential that we train our ears to differentiate between the various frequencies in this range.
>
> Most people usually master low-end or high end frequencies first and then start to get more attuned to what is going on in the midrange. Being able to further differentiate and fine tune between the low and high-mids can take a lot of work, but is worth it in the long run.
>
> There are two exercises folders. One contains "Guess" mode exercises (1-13) and the other one "Correct" mode exercises (14-26).
>
> Enjoy!
>
> For more information about Stephen Kelly and free audio tutorials, visit his website [www.understandingaudio.com](http://www.understandingaudio.com).

## List of Exercises

### 1. Low Mids - 250Hz or 500Hz (Guess)

Practise differentiating between the low-mid frequencies of 250Hz and 500Hz in Guess Mode.

### 2. Low Mids - 500Hz or 1kHz (Guess)

Practise differentiating between the low-mid frequencies of 500Hz and 1kHz in Guess Mode.

### 3. High Mids - 2kHz or 4kHz (Guess)

Practise differentiating between the high-mid frequencies of 2kHz and 4kHz in Guess Mode.

### 4. High Mids - 4kHz or 6.3kHz (Guess)

Practise differentiating between the high-mid frequencies of 4kHz and 6.3kHz in Guess Mode.

### 5. Low Mids - 250Hz to 500Hz (Guess)

Practise differentiating between various low-mid frequencies in the 250Hz to 500Hz range in Guess Mode.

### 6. Low Mids - 500Hz to 2kHz (Guess)

Practise differentiating between various low-mid frequencies in the 500Hz to 2kHz range in Guess Mode.

### 7. High Mids - 2kHz to 4kHz (Guess)

Practise differentiating between various high-mid frequencies in the 2kHz to 4kHz range in Guess Mode.

### 8. High Mids - 4kHz to 6.3kHz (Guess)

Practise differentiating between various high-mid frequencies in the 4kHz to 6.3kHz range in Guess Mode.

### 9. All Low Mids - 250Hz to 2kHz (Guess)

Practise differentiating between various low-mid frequencies in the 250Hz to 2kHz range in Guess Mode.

### 10. All High Mids - 2kHz to 6.3kHz (Guess)

Practise differentiating between various high-mid frequencies in the 2kHz to 6.3kHz range in Guess Mode.

### 11. All Midrange 1 (Guess)

Practise differentiating between various frequencies across the entire mid-range in Guess Mode.

### 12. All Midrange 2 (Guess)

Practise differentiating between various frequencies across the entire mid-range in Guess Mode.

### 13. All Midrange 3 (Guess)

Practise differentiating between various frequencies across the entire mid-range in Guess Mode.

### 14. Low Mids - 250Hz or 500Hz (Correct)

Practise differentiating between the low-mid frequencies of 250Hz and 500Hz in Correct Mode.

### 15. Low Mids - 500Hz or 1kHz (Correct)

Practise differentiating between the low-mid frequencies of 500Hz and 1kHz in Correct Mode.

### 16. High Mids - 2kHz or 4kHz (Correct)

Practise differentiating between the high-mid frequencies of 2kHz and 4kHz in Correct Mode.

### 17. High Mids - 4kHz or 6.3kHz (Correct)

Practise differentiating between the high-mid frequencies of 4kHz and 6.3kHz in Correct Mode.

### 18. Low Mids - 250Hz to 500Hz (Correct)

Practise differentiating between various low-mid frequencies in the 250Hz to 500Hz range in Correct Mode.

### 19. Low Mids - 500Hz to 2kHz (Correct)

Practise differentiating between various low-mid frequencies in the 500Hz to 2kHz range in Correct Mode.

### 20. High Mids - 2kHz to 4kHz (Correct)

Practise differentiating between various high-mid frequencies in the 2kHz to 4kHz range in Correct Mode.

### 21. High Mids - 4kHz to 6.3kHz (Correct)

Practise differentiating between various high-mid frequencies in the 4kHz to 6.3kHz range in Correct Mode.

### 22. All Low Mids - 250Hz to 2kHz (Correct)

Practise differentiating between various low-mid frequencies in the 250Hz to 2kHz range in Correct Mode.

### 23. All High Mids - 2kHz to 6.3kHz (Correct)

Practise differentiating between various high-mid frequencies in the 2kHz to 6.3kHz range in Correct Mode.

### 24. All Midrange 1 (Correct)

Practise differentiating between various frequencies across the entire mid-range in Correct Mode.

### 25. All Midrange 2 (Correct)

Practise differentiating between various frequencies across the entire mid-range in Correct Mode.

### 26. All Midrange 3 (Correct)

Practise differentiating between various frequencies across the entire mid-range in Correct Mode.

## Questions and Feedback

If you have any questions or feedback about this package you can [contact us](https://www.trainyourears.com/contact/). We'll be more than happy to help you out.

And if you have developed some interesting exercises and want to share them with the world, that's awesome! Just send us an email and we'll publish them here :)


# Slow Sound Modulations by Andrei Georgescu

Andrei is a 23-year-old **certified Bitwig Studio Professional** who began producing music at the age of 17. Currently, he makes music under the artist name of **Liviu**. He plans to get a degree in Computer Science on top of his two current music degrees with the eventual goal of creating VSTs and working in the gaming industry.

## Download the package

[**Click here to download the Slow Sound Modulations package.**](https://cdn.trainyourears.com/exercises/andrei-georgescu/Sound%20Modulations%20package%20by%20Andrei%20Georgescu.zip)

The .zip file contains two folders: one with exercises, and the other one with sound files.

Unzip it and use the [import](/options/designer#import) button to load the exercises in TrainYourEars. Don't forget to add all the sound files to the audio player too.

## Andrei Georgescu’s introduction

> **This package is intended for intermediate and advanced users.**
>
> Training your ears to recognize equalization is essential to being a great DJ, musician, producer, sound designer, composer, as well as any other role that deals with audio. This familiarizes you with the frequencies that comprise audio and allows you to recognize and even create creative equalization. Examples of this are: the heavy use of filters in DJing, wah pedals used in rock music, most if not all sessions of mixing and/or mastering, most instances of sound design, and most if not all electronic music composers.
>
> However, the issue lies in the fact that most training material for equalization relies on non-modulated static sounds, noise or music. These, of course, have their place and should be practiced, but one major aspect that seems to be missing from most training exercises are modulated non-static sounds. An example of this is trying to determine the equalization effect upon a sound that has other effects being added to it over time, such as distortion, delay, reverb, compression, etc. Some of these do in fact affect the frequency response, but that is the reality of how we deal with audio in real life for the most part.
>
> Most real world instruments are not static and change in an immeasurable amount of ways every millisecond. Outside of simple sound design, there are few scenarios where the audio you will be dealing with is non-modulating. Using music is a good solution for this, however, most music tends to be predictable and repetitive and I feel that it teaches you more about how that piece of music works, rather than how to identify equalization amongst other modulations in general.
>
> The main difficulty in these exercises are that some of these modulations do in fact change the frequencies and/or their amplitude. However, that is why the equalization itself is as straightforward as possible. Having to identify an incredibly small specific frequency boost in a sound that is being put through a slew of effects is not in my opinion a worthwhile use of time. I look at my exercises as flipping the traditional hard equalization/simple audio into easy equalization/difficult audio. I believe this fills in a much needed void in equalization training and will benefit many intermediate and advanced users.
>
> The exercises will start off easy but continue to get more difficult. The exercises that involve filters will have less random modulation than the exercises that are less frequency based.
>
> The sounds are named based off of the modulation that they change and the exercises are five basic filter types intended to be used with any of these sounds. In a sense, the exercises and sounds are flipped in this way as well. The difficulty is decided more by the sound being selected than the exercise, however the **combination of filter type and sound** is the most important aspect and thus experimentation is encouraged.

Please note that in order to properly use this package you have to enable the "Loop Song" feature in the Audio Player screen:

![](/files/-LNZh01n6saj5pRb12xW)

## List of Sounds

### 1. Amplitude

This sound involves modulating amplitude of the overall sound.

### 2. Noise

This sound involves modulating noise on top of the overall sound.

### 3. Sync

This sound involves modulating the oscillator sync of the first VCO.

### 4. Waveshape

This sound involves modulating the waveshape of the two VCOs.

### 5. Mix

This sound involves modulating the mix between the two VCOs.

### 6. FM

This sound involves modulating the FM.

### 7. Resonance

This sound involves modulating the filter resonance.

### 8. Beating

This sound involves modulating the beating between the VCOs.

### 9. Beating 2

This sound involves more modulation of the beating between the VCOs.

### 10. Pitch

This sound involves modulating overall pitch of the sound.

### 11. Filter Types & Frequency

This sound involves modulating the filter types and frequency.

### 12. Filter Types, Frequency, Waveshape & Sync

This sound involves modulating the filter types, frequency, waveshapes of both VCOs, and oscillator syncs of both VCOs.

## Questions and Feedback

If you have any questions or feedback about this package you can [contact us](https://www.trainyourears.com/contact/). We'll be happy to help!

Have you created some interesting exercises and want to share them with the world? That's awesome! Just send us an email (to the email address above) and we'll publish them here :)


# Quick Sound Modulations by Andrei Georgescu

Andrei is a 23-year-old **certified Bitwig Studio Professional** who began producing music at the age of 17. Currently, he makes music under the artist name of **Liviu**. He plans to get a degree in Computer Science on top of his two current music degrees with the eventual goal of creating VSTs and working in the gaming industry.

## Download the package

[**Click here to download the Quick Sound Modulations package.**](https://cdn.trainyourears.com/exercises/andrei-georgescu/Quick%20Sound%20Modulations%20Package%20by%20Andrei%20Georgescu.zip)

The .zip file contains two folders: one with exercises and the other one with sound files.

Unzip it and use the **Import folder** button to load the exercises in TrainYourEars. Don't forget to add the sound files to the audio player too.

## Andrei Georgescu’s introduction

> **This package is intended for intermediate and advanced users.**
>
> This package continues off from my last one, [Slow Sound Modulations](/exercises/slow-sound-modulations). It is under the same vein of training your ears using non-static modulations in order to train them more for complex real world application than a purely static modulation could do.
>
> The last package used heavy and obvious modulations. This one, however, does not go that route, but instead focuses on very subtle modulations over long periods of time. Morphing ambient pads and strangely repeating plucks are the sounds I've chosen for this purpose.
>
> In some ways this may be much easier or much more difficult depending on many factors, including how fast the user is at identifying the equalization. The reason for this is because if the user cannot identify in a short period of time what equalization is being used, the sound will have already changed, but so subtly that in many ways it could throw off the user's estimation and confuse them all together.
>
> In this sense, I consider this a "time attack mode". It becomes very easy when you identify the equalization almost immediately but very difficult when you can't, thus it forces the user to make quick split second decisions and learn to trust their gut because many a time, second guessing yourself when it comes to ear training, is not a good thing.
>
> Another important difference to the last package is that the equalizations are more complex and difficult because the modulations are no longer as drastic in comparison. The difficulty is no direct order, you choose your own based off of the combination of sound and equalization exercise.

Please note that in order to properly use this package you have to enable the "Loop Song" feature in the Audio Player screen:

![](/files/-LNZh01n6saj5pRb12xW)

## List of Sounds

### 1. 5 Bands

5 bands spread out through the frequency range with high db boosts and cuts; wide and sharp widths.

### 2. High & Low Shelves

High and low shelves with medium gain and sharp widths.

### 3. Bandpass

Low and high cut filters with fairly high gain and medium width creating a bandpass.

### 4. 2 Band Octaves

Two bands of differing gain and width will be chosen from 8 octaves.

### 5. Low & High Cut + Band

Low and high cut with a medium gain band.

### 6. Cut vs. Shelf

Low and high filters or shelves chosen, centered around 250Hz.

### 7. Width Sizes

Comparison of different band width sizes in octaves.

### 8. Low & High Shelf + Band

Low and high shelves with a medium gain band.

### 9. Bandpass 2

Bandpass using a regular bandpass filter in octaves and with different widths.

### 10. Everything

Everything.

## Questions and Feedback

If you have any questions or feedback about this package you can [contact us](https://www.trainyourears.com/contact/). We'll be happy to help!

Have you created some interesting exercises and want to share them with the world? That's awesome! Just send us an email (to the email address above) and we'll publish them here :)


# TROUBLESHOOTING


# Reset Preferences

Sometimes things can go wrong and you may want to reset the preferences to see if it helps. Or maybe you want to start again from scratch.

{% hint style="info" %}
Remember to export any exercise you want to preserve before resetting the preferences.
{% endhint %}

## PC (Windows)

Go to `C:/Users/YOUR-NAME/AppData/Roaming/Cycling'74/` and delete the `TrainYourEars EQ Edition 2` folder.

![](/files/-LNZh0MdaQ--w2yHA2Gb)

The folder `AppData` is hidden, but you can see it activating `Hidden Items` in the `View` menu.

![](/files/-LNZh0MfvKz_QmqheMgN)

Finally, empty the Recycle Bin.

## Mac (OSX)

Go to `Delete the folder /Users/your-name/Library/Application Support/` and delete the `TrainYourEars EQ Edition 2` folder.

![](/files/-LNZh0MhliWBakRlDZk5)

Library is a hidden folder but you can open it using the Finder option `Go->Go to Folder...` and entering `~/Library/Application Support`.

![](/files/-LNZh0MjFEQDFbGcDq-_)

![](/files/-LNZh0MlY0z1rB4F8PAz)

Finally, empty the Recycle Bin.