some of you may already know this, some may not, either way, its elpful to understand some basic fundamentals when Eqing tracks for a mix.
Most of you know that When having many instrument tracks there will be Competing Frequencies between instruments that will turn your mix into a trainwreck
But its important to know how the frequency spectrum is divided and how to apply it musically into your mix
First Of:
Between 30-60Hz is where you feel sound, not to much musical information there, can add kick to your music, but it is not wise to focus on it too much.
Between 60 - 200hz is where fundimental tones exist, ideal for bass instruments that provide single root notes and arent very busy
Between 200hz - 2Khz is where the musical information actuially exist, I.e. the actual tones.
When an instrument is providing Harmoinic support (I.e. Playng chords on the down beat and not being too rhythmically active. For example Playing a guitar chord and letting it ring for the bar) , It may be helpful to boost Lower Mids and cut a bit of higher and lower frequencies to give space for other instruments in the mix.
When an instrument is playing a melodic role, you generally want a brighter sound, so focus on the Higher mids,boost and cut accordingly
From 2K and higher, is where the noise exists, I.e. no relevant musical pitch exists in these bands
When an instrument is playing a Rhythmic role, its musical information is not as important, for example, there is no real defined pitch on a drum kit, other than maybe toms, but its not important really.
You may want to eq accordingly in order to define its role in the mix, so you want @k and higher frequencies to stand out in the mix from these instruments, not that you should ignore the other frequencies. For example a snare has frequencies that define it in the 200k are too, but the attack comes from 2k and up. A kicks attack comes from 2k and up, but its boom coms from 60hz area
same with a piano, the mallet is ppresent in 2k and up, while the music is within 200- 2k, so if its percusive piano, eq accordingly
For example, guitar in ska and reggae is usually playing rhythmic role, with slight harmonic presence, so you may want to focus more one the frequencies that give it brightness to define its role
it may be helpful to know this stuff, not just to boost, but to cut. Sometimes an instrument does not need any boosting, but it has unnesscary information thats competing with another track.
It is more preferable to cut frequencies rather than boosting because wen you boost, all you are doing is making the output of the track louder and you are going to have to do more leveling to achieve a lesser result.
It also helps to know in a compositional standpoint on what is the overall sound of the song and what to focus on and what is less important.
IMPORTANT:
Eq, although very useful, should not be used to compensate for bad source sounds, you dont want to record things just to EQ the hell out of it to get the desired sound. Its important to define it by the source,. so EQ you amps instead, get the proper guitar and the proper gauge strings. You dont want to get Thin gauge strings if you are providing harmony, because the strings dont have much presence in harmonic frequencies. You would if its playing a rhythmic role, like in ska or reggae.
So start form the source, pre recording stage, then Eq afterwards to enhance, not compensate.
Most of you know that When having many instrument tracks there will be Competing Frequencies between instruments that will turn your mix into a trainwreck
But its important to know how the frequency spectrum is divided and how to apply it musically into your mix
First Of:
Between 30-60Hz is where you feel sound, not to much musical information there, can add kick to your music, but it is not wise to focus on it too much.
Between 60 - 200hz is where fundimental tones exist, ideal for bass instruments that provide single root notes and arent very busy
Between 200hz - 2Khz is where the musical information actuially exist, I.e. the actual tones.
When an instrument is providing Harmoinic support (I.e. Playng chords on the down beat and not being too rhythmically active. For example Playing a guitar chord and letting it ring for the bar) , It may be helpful to boost Lower Mids and cut a bit of higher and lower frequencies to give space for other instruments in the mix.
When an instrument is playing a melodic role, you generally want a brighter sound, so focus on the Higher mids,boost and cut accordingly
From 2K and higher, is where the noise exists, I.e. no relevant musical pitch exists in these bands
When an instrument is playing a Rhythmic role, its musical information is not as important, for example, there is no real defined pitch on a drum kit, other than maybe toms, but its not important really.
You may want to eq accordingly in order to define its role in the mix, so you want @k and higher frequencies to stand out in the mix from these instruments, not that you should ignore the other frequencies. For example a snare has frequencies that define it in the 200k are too, but the attack comes from 2k and up. A kicks attack comes from 2k and up, but its boom coms from 60hz area
same with a piano, the mallet is ppresent in 2k and up, while the music is within 200- 2k, so if its percusive piano, eq accordingly
For example, guitar in ska and reggae is usually playing rhythmic role, with slight harmonic presence, so you may want to focus more one the frequencies that give it brightness to define its role
it may be helpful to know this stuff, not just to boost, but to cut. Sometimes an instrument does not need any boosting, but it has unnesscary information thats competing with another track.
It is more preferable to cut frequencies rather than boosting because wen you boost, all you are doing is making the output of the track louder and you are going to have to do more leveling to achieve a lesser result.
It also helps to know in a compositional standpoint on what is the overall sound of the song and what to focus on and what is less important.
IMPORTANT:
Eq, although very useful, should not be used to compensate for bad source sounds, you dont want to record things just to EQ the hell out of it to get the desired sound. Its important to define it by the source,. so EQ you amps instead, get the proper guitar and the proper gauge strings. You dont want to get Thin gauge strings if you are providing harmony, because the strings dont have much presence in harmonic frequencies. You would if its playing a rhythmic role, like in ska or reggae.
So start form the source, pre recording stage, then Eq afterwards to enhance, not compensate.