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My guide on bass mixing (pg. 4)
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| BOOsTER |
| quote: | Originally posted by globalwarming
i have no idea how to use reason...
im with cubase.. (used to be on fruity loops but cant remmember ) |
you can use any of the EQs to do this
easily...just setup an MClass EQ and put gain down on the low shelf...you'll see how it shapes the eq graph...or just use one of those free ones, setup proper Q and frequency and you're ok ;) |
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| funkysouls |
| quote: | Originally posted by BOOsTER
you can use any of the EQs to do this
easily...just setup an MClass EQ and put gain down on the low shelf...you'll see how it shapes the eq graph...or just use one of those free ones, setup proper Q and frequency and you're ok ;) |
thanks a bunch :D :D :D
Fellow TAs.... ;) |
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| paulc_dj |
This is a well interesting thread. I have just bought the Trance Experience book and this has quite a bit in it about technical EQ'ing in it. THIS seems to be an extremely important part of EDM production and would be great if one of you talented Pro's would give us learners an insight into this art by starting a thread and maybe making it a sticky.: eg: Freq=82Hz, Gain=-6dB, Q=7 - (a peak filter that removes "boominess") or Freq = 853Hz, Gain = -3.2dB, Q=7 - (A peak filter that gives the kick a warmer, more analog character). These are just some fo the things that are mentioned in the book, that would be really useful to all of us, that don't know them yet. A list of troublesome frequencies or "standard" filters that can be applied to give that more polished, pro feel to a track woudl be advantageous to all. It could be split into three sections (threads) the bottom end (this one), the mids and the highs.
Thx.
PC :tongue2 |
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| Diginerd |
The problem with that is you can only shoot in general areas it all depends on the exact sounds you are using and wha key you are in (Think, each key is in a different set of harmonics off a root frequency).
THE SINGLE BIGGESTTHING TO KNOW ABOUT EQ IS:-
As has been said before in this thread, pop open an EQ, set one band to a very high Q (So it's very "Peaky") and scroll up and down the frequency range. As one point in the range there will be a very large increase in level (Infact you may clip th eq once you hit it). Thtat particular frequecy (which will change) is the fundamental of the sound. If you want to accentuate it you then widen out your Q and step back the gain and you boost.
What's much more interesting is if you dip a little at that frequency, then you start removing the fundamental some and bring up the rest of the sound. In some regards you could think of this as compression, as you are removing the spike but bringing the average level of the sound up (Technically not true, but close enough for rock and roll).
Another thing to help combat "Brittle" sounds is to understand that applying cuts to the fundamental with EQ and increasing the level of the part is in most cases going to sound much better than boosting the quieter part of the sound and decreasing the overall level with the fader. This is a product of a couple of things, not least that many EQs just don't sound amazing when booting, but do a much better job when cutting.
The final tip (which doesn't just apply to bass, but to everything you EQ, is that you should aim to sit each part into it's on pocket of the spectrum. ie is fyou have a bass part, bring a low (or no) Q Low pass filter down to where you just can't hear it make a change. And if a sound is in the mid range cut both top and bottom.
You don't want to tdo this too aggressively as it will lead to a disjointed sound, but sdone right creates space for each part to breathe.
EQ and levels are the two single most powerful tools available to you when mixing, it's a shame that most people are spectacularly unaware of how it works and just reach for big stacks of effects to try and shore up a basically weak sound. |
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| Lunar Phase 7 |
Good advice there!
Cheers Diginerd. |
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| DJFreaq |
| quote: | Originally posted by Diginerd
EQ and levels are the two single most powerful tools available to you when mixing, it's a shame that most people are spectacularly unaware of how it works and just reach for big stacks of effects to try and shore up a basically weak sound. |
I totally agree. When I first started going to school for this stuff that's ALL we ever did in class projects. Dynamics and EQ.
Honestly. It's far to easy to just "add" another sound. To make a delay. To add a reverb.
True difficulty comes in balancing your volumes and frequencies. And I agree. Almost NO ONE pays attention, or is too lazy to really focus on these core aspects of sound.
I know for a fact you and the other senior production studio producers have tried to emphasize this point before. But with new everyday, VERY FEW PEOPLE HAVE PAID ANY ATTENTION! And we get many new threads on "G HOW DO I PRODUCE?!"
Anyway. This is good training. Too bad I'm away from my studio, but I'm replacing that with learning like this.
---Adam |
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| nhibberd |
In mastering you usualy cut out all the freqencies below 30/40 Hz anyway in a log curve shape. As far as EQ'ing the BD and BL for me at least it's different every time I do it, depends on which synth your using and how it's patched. Also depends on your style and what kind of sound you want to get out of your speakers.
hope this helps,
CD |
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| mzvirbulis |
but you see that the reason why people are having trouble with Dynamics and EQuing is because most are new and are only just learning to get to that stage. i believe everyone goes in stages of what they learn in production, for me i have been improving yet my technical sound but also my song musically.
you have a listen to all them clips you have exported from all your songs and listen to the quality from your very begining to NOW! notice that it's very progressive for some in their quailty of sound.
what about stereo widener? i used a bit of that but never use it in you low end keep it un touched, and use the high ends to your perfection, in reason there is an X-over threshold which stereo widens anything over that number freq, i didn't have to apply much to get a better sound. |
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| Lunar Phase 7 |
Speaking about widening, what are everyones thoughts on placing a stereo delay of just a few ms on things to add stereo image to an otherwise pretty centred sound?
for example an open hi hat.
I find it very difficult to get my sounds to sit at differnt places within the sound stage.
if you want to make most of your perc seem "wide" for example how do you guys go about doing this?
are stereo wideners actually just a form of delay themselves? |
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| Atlantis-AR |
| quote: | Originally posted by nhibberd
In mastering you usualy cut out all the freqencies below 30/40 Hz anyway in a log curve shape. |
Is that so? :p |
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| nhibberd |
| quote: | Originally posted by Atlantis-AR
Is that so? :p |
Is it not so then?!?! I practicaly live by that rule! Please tell me, should I go and give the person that told me this a bitchslapping?
I was told and frequencies below about 20Hz just make cones dance around uncontrolably and prevent the speakers from presenting other frequencies accurately. It's only since I started cutting from 30 in a curve that my music sounded ok on my mom and dads speakers where they have a big subwoofer.
kind regards,
CD |
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| Lunar Phase 7 |
| In that case would it not be best to apply this 30 hz cut to ytour master channle befor you start eqing individual sounds? |
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