You guys probably know this, but...

  • Thread starter Thread starter Phildo
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Phildo

I heart guitars!
Mixing a punk recording the other day (2 rhythm guitars, bass, drums, vocals, b/vox, lead guitar...), I decided, for the first time in my life, to look at details of frequency ranges relative to particular instruments.

Where the ranges of any major instruments overlapped, I separated them out with EQ (things like cut the bass guitar at 120Hz to allow the bass drum to come out, boost the bass guitar by 3db at 800Hz, and cut the bass drum by the same amount in teh same region boost the panned rhythm guitars by 3db, one at 2K one at 4K, roll off about 4db or so at 300Hz on them both, drop everything from the b/vox below 1.5K etc etc).

I'd already mixed a couple of tracks on the session, so I had an idea of the sounds I was dealing with - I didn't do it totally blind, and I appreciate that theh EQ frequencies I used wouldn't work on everything

I then pushed all the faders up to 0db and was very surprised to find that a mix had appeared - as if by magic. I also found I was able to turn individual instruments up with no reduction in power or clarity.

Marvellous.

it took a bit of time to check frequencies against each other, but it was worth it in the end.
 
I would say that I know how to do it, but I'd also say that I haven't always been as successful with it as I'd have liked. It is a great feeling when the mix finally "appears" though :)

I still struggle with this and usually default to my ears, but that's not always the best way to deal with frequency overlap.

Just out of curiosity, what were you using for analyzing frequency ranges?
 
Seanmorse79 said:
Just out of curiosity, what were you using for analyzing frequency ranges?
Click to expand...

I used my ears combined with the tried-and-tested (and very boring) method of sweeping the EQ 'till I found the frequencies I was looking for and then comparing them with their relevant "companion" instruments (bass with b/d, rhythm guitar with rythm guitar, etc).

Also, if I'm honest, a little guesswork.
 
I use the same method as Phildo. Boost the freq extremely up with a high Q and search among the frequency until you hear the one that has to be changed. then use your EQ settings.

I used to make the mistake only to listen to each track solo and EQ them so they sounded great. But when I listened to them together they didn't blend. So now I EQ while listening to several tracks at the same time. Stuff like the BD and the bass just have to blend, and with EQing and eliminating certain frequencies you can avoid them being in eachtothers way.
 
How exactly do you sweep the EQ to find the frequencys you want to cut or boost?
 
Once,

You need an EQ that's "sweepable" - that is it has at least 2 controls. One that controls cut or boost, and one that controls the frequency. Ideally, you'd have a third control called the "Q"- or how wide a range around the selected frequency is affected.

To sweep an EQ you turn the boost way up and "sweep" the frequency control back and forth until the freq you are looking for jumps out at you. Then use your other controls to set it the way you want.

Have fun,
Chris
 
hmm...

only thing I don't get is when you were talking about turning all the faders up to 0db?

i always have problems with volume....and my overall mix clipping.
 
wes,

You don't have to do it that way. You can do it how littledog (?) suggested, and leave the master fader at 0dbFS. Bring everything down (at the beginning, rough mix, all tracks) until the levels are relatively close to how they'll be in the final mix. Then, start with the subtractive EQ. You'll find the levels will drop with the subtractive EQ (what they're talking about above) and you can nudge the track faders up a bit each time. When the mix is right (done!), nudge all your faders up so that the overall mix (the master stereo pair) is as close to clipping without clipping as possible.


Chad
 
I think that, basically, if you remember to cut frequencies in some instruments as (and if) you boost them in others, then your overall gain structure will remain pretty linear. If you stick to this, then you shouldn't overload your master busses and clipping shouldn't be a problem (basically,if you keep everything at around 0db then you're not adding any gain, so you're less likely to induce clipping. Does anybody who actually knows what they're talking about want to explain it properly for me - Harvey, I'm looking at you here...).

I should have clarified that when I said "a mix had appeared" I meant that all the sonic characteristics were there - separation, clarity, punch, etc. Obviously there was still some level tweaking to do, but the sounds were near as dammit there.
 
Wes, If you are having a lot of summing problems you probably need bass and low mid cuts (under 800hz or so). A lot of low mid energy will eat up your headroom very quickly.
 
participant said:
wes,

You don't have to do it that way. You can do it how littledog (?) suggested, and leave the master fader at 0dbFS. Bring everything down (at the beginning, rough mix, all tracks) until the levels are relatively close to how they'll be in the final mix. Then, start with the subtractive EQ. You'll find the levels will drop with the subtractive EQ (what they're talking about above) and you can nudge the track faders up a bit each time. When the mix is right (done!), nudge all your faders up so that the overall mix (the master stereo pair) is as close to clipping without clipping as possible.


Chad
Click to expand...

Chad, where are you at in Salt Lake? My name is Chad as well... spooky...

If you have access to a spectrum analyzer, you can get a good idea of target frequencies and where there is overlap. I read a great article on how you can almost mix blind...well, deaf.. just using a spectrum analyzer. I'll see if I can find the link.
 
Good Thread!

I have been doing this to get the vocals to sit in the mix, but now I can't wait to try some of the other instruments as mentioned.

Dom Franco:cool:
 
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