complementary EQing

[Tornandfrayed]

Hi Guys

I've been reading about the complementary equalising technique. . with specific regard to creating a space for the vocal to sit. I've ran my vox through a spectral analyser and it seems it has highest peaks at the following frequencies:

230 to 250
400 to 515 highest peaks
700 to 720
900 to 960 highest peaks
1.4 to 1.7 highest peaks
2 to 2.3
2.9 to 3.1
3/9 to 4.1

Question is. . should I cut lots of little holes in the guitar (without cutting the good bits) or cut one or two bigger holes?

All tracks are currenly centred, having read other posts on here should I think about panning also or should one technique be enough?

Many thanks in anticipation

 

[Capt Hair]

may seem obvious, but the best way would be to test each out, cut at multiple spots and then try just cutting 1 or 2 spots. Assuming your mixing in a DAW, you can just save what ever you do first as a preset and then try a second attempt and save that one and then you can easily go back and forth and compare the two to see which fits the song better.

 

[RAMI]

I've ran my vox through a spectral analyser and it seems it has highest peaks at the following frequencies:

230 to 250
400 to 515 highest peaks
700 to 720
900 to 960 highest peaks
1.4 to 1.7 highest peaks
2 to 2.3
2.9 to 3.1
3/9 to 4.1

You're mixing with your eyes, not your ears. Not a good idea. Forget what the spectral anal-iser tells you.

 

[Greg_L]

You're mixing with your eyes, not your ears. Not a good idea. Forget what the spectral anal-iser tells you.

This x 100000000000000000000000 x 1000000000000000000000 more


Forget that crap. Use your ears.

 

[GazEcc]

You're mixing with your eyes, not your ears. Not a good idea. Forget what the spectral anal-iser tells you.

Another +1, you'd be better using them as starting points and cutting out sympathetic notches that don't destroy the instruments you're cutting

 

[bouldersoundguy]

The peaks of the spectral analyzer mean nothing. It's the ear's response to certain ranges that matters. The definition zone for vocals is around 3kHz. If there's too much other stuff going on there it will step on the vocals' clarity.

 

[Bristol Posse]

Have you considered playing the vocals and the guitars etc at the same time and EQing till it sounds good? If you are working on a board in a studio there are no spectral analysis tools, you just have to trust your judgement

 

[Tornandfrayed]

You're mixing with your eyes, not your ears. Not a good idea. Forget what the spectral anal-iser tells you.

Yep... good shout .. I thought I'd try an be all sciency 'n' stuff . .

 

[RAMI]

I thought I'd try an be all sciency 'n' stuff . .

Hehe...Yeah, that's never worked for me. Requires too much thinking.

 

[mixsit]

I will use the Bass Guitar and Kick Drum for this example, since I always see questions about these two. Lets say I boost the kick at 65Hz and 2kHz and then cut at 250Hz. Now since I boosted those 2 frequencies for the kick drum track, I will cut those 2 frequencies in the bass guitar track and then boost the bass guitar at 250Hz.
I did the complete opposite in both tracks. If I boost 65Hz in the kick drum track, I will cut 65hz in the bass guitar track. If I cut 250Hz in the kick drum track, I will boost 250Hz in the bass guitar track

from.. Mastering FAQ's | Mastering Tips | Recording Tips
I just pulled this up from a quick search for a generic example..

Question then..
It occurs to me I may have never actually done this –at least in fitting the low end or like on these two tracks.
I can see being aware of the logic and applying it in the right conditions, but it seems to me what's left out of this, or better the presumption that's being made is that both tracks somehow happen to be 'even or equal in tone balance to begin with. Then the masking follows presumably.

Each track has it's unique character and solutions alone, and ultimately their needs in combination, and in the mix.
I almost can't recall that (ever..?) ending up with that being mirrored' peak/dip points?

Have you considered playing the vocals and the guitars etc at the same time and EQing till it sounds good? If you are working on a board in a studio there are no spectral analysis tools, you just have to trust your judgement

+1
Part of your paths can be to size things up in and out of the mix context.
Part of that can be breaking things down into bite size chuncks.