What questions? What are you asking? You want to know the freqs of a drum track? You want to know what VST EQ plugins are out there?

___________________


https://soundcloud.com/ghostea stuff

Looks like there are three questions in here.

1. drum frequency ranges.. That's searchable on here (not being a jackass, but it's a well trodden path)

2. Tools for seeing a Mix. Waves PAZ is pretty good. I Love Spectrafoo, but that's not available in VST form. Izotope Ozone is very very good for the cash. Couples some decent mastering style processing with some really good metering

3. EQs are personal taste. The Logic ones are actually pretty good, certainly since they're included in the price of Logic. If you want to expand your palette Waves Ren EQ is pretty good (Though long in the tooth), Sonalksis stuff rocks hard, URS makes some great ones too.

It's all down to what tonal color you're after. They each have strengths and weaknesses.

Not sure you know this or not. It seems obvious, but so many new-commer producers forget this rule.

1. All your low freq instruments and percussion use LOW-PASS filters

2. All your high freq instruments and percussion use HIGH-PASS filters

You will be amazed to hear how your mix opens up. Your hats will become clearer, snares will brighten up and have more defination, basslines will talk to you, and kicks will punch you.

Here's a great trick for kicks:

On your kick track, DUPLICATE IT.

Call one track Kick-Low, and one track Kick-Hi.
Low pass your kick-low track so you're keeping only the "wump" data (low pass at 80hz or so).
And high pass your Kick-Hi track so that you get to keep some "slap" data. We have done this trick many times at school and every time you get some great results with mix definition.

Keep in mind that, depending on the instruments, the first 2 methods I describe can vary where you slide your low/high-pass filters. Just sweep them until your filter just starts to change the tonality of your instrument. Then slide it back and leave it.

But yea. I don't know how much you know or don't know, just throwing some ideas out there.

___________________
Soundcloud

Last edited by wrzonance on Apr-11-2006 at 03:27

Freaq -ed me..!
cool tips.

Diginerd - Thanks Much appreciated i know ur not being a jackass dude. Uve helped me a lot anyway.. Yeah i know it is searchable and all. I have searched and read and read. I know the basics with the hi/low-pass filters. to be honest with you youve answered my questions in a sense.



Freaq - Yeah ive actually been doing the Kick trick now for a few weeks, thanks anyway though i am sure someone will benefit from the tip so Thanks for the effort.


It all really comes down to preference and the actual sound of the drum track etc. It all can vary which is understandable. Since i have been experiencing EQing elements it has def. opened up some space in my tracks. I just want to BE PEFECT G*D Dam*it.

You guys rock...


Oh yeah Thanks for not shitting on the questions!!!

quote:

Originally posted by Biatchzxz How can i analyze the track to see if there are any corrections to be made as far as sounds hitting the same freq or not in the right part of the mix.

You mean something like this?

___________________
Put an end to the loudness war. Don't limit or compress your mixdown until mastering; leave the master channel alone.

Contact me for mastering.

Sounds can hit the same frequencies and it can be just fine.

The only tool you have is your own ears and your own subjectivity. You'll know if it sounds bad.

Investing in quality monitors is always a good thing, both for producing, and improving quality of life. We live for music, afterall, eh?

quote:

Originally posted by DJFreaq Not sure you know this or not. It seems obvious, but so many new-commer producers forget this rule. 1. All your low freq instruments and percussion use LOW-PASS filters 2. All your high freq instruments and percussion use HIGH-PASS filters You will be amazed to hear how your mix opens up. Your hats will become clearer, snares will brighten up and have more defination, basslines will talk to you, and kicks will punch you. Here's a great trick for kicks: On your kick track, DUPLICATE IT. Call one track Kick-Low, and one track Kick-Hi. Low pass your kick-low track so you're keeping only the "wump" data (low pass at 80hz or so). And high pass your Kick-Hi track so that you get to keep some "slap" data. We have done this trick many times at school and every time you get some great results with mix definition. Keep in mind that, depending on the instruments, the first 2 methods I describe can vary where you slide your low/high-pass filters. Just sweep them until your filter just starts to change the tonality of your instrument. Then slide it back and leave it. But yea. I don't know how much you know or don't know, just throwing some ideas out there.

Quoted for truth.

Also another tip

When a part of your tracks plays WITHOUT the opposite frequency playing, you can automate OFF your high or low pass filter!

This will make your instruments more real and alive, and when the filter kicks in when the rest of your instruments play, the illusion of sound starts up, and the listener won't even know the difference, since their ears have already equated the sound they heard to the previous un-EQed sound.

Hint hint, you can even automate this function itself; at least you can in FL Studio.

quote:

Originally posted by Atlantis-AR You mean something like this?

What is that exactly Atlantis-AR? There is a similar function in GlissEQ. Very handy. This doesn't seem like VST though. Care to tell us more about it?

- farris

quote:

Originally posted by farris What is that exactly Atlantis-AR? There is a similar function in GlissEQ. Very handy. This doesn't seem like VST though. Care to tell us more about it?

They're average spectrums created in Sound Forge. I believe any audio editor should come with a spectrum analysis feature.

___________________
Put an end to the loudness war. Don't limit or compress your mixdown until mastering; leave the master channel alone.

Contact me for mastering.

Thought it was real-time from a sequencer like GlissEQ can do.
Don't know if you've tried that one, but it allows you to
overlay different channels into one window and get a picture of
what's going on. And then you can EQ the corresponding channel
directly in that window.

- farris