Cuts in 800-1,5 kHz range can reduce honkiness or boxiness. BRIGHTNESS 10-20 kHz To start things off we need a stock Multiband Compressor with the Mid & Low Channels Muted, so only the high end comes through. Be careful while mixing here as too much sub bass can make your mix sound muddy. LOW-END 0-40 Hz Boost around 160 Hz for extra pressure. Try boosting 10-12 kHz range with high shelf curve for brightness and presence. Boost 120-240 Hz range for fullness. Mix as appropriate to the individual synth / patch. Stay moderate with 2-3 dB bell curve boosts (high shelf and tilt EQs will work nicely as well). LOW MID-RANGE 250 – 500 Hz – Increase attack of piano, acoustic guitar and brightness on guitars (especially rock guitars). Try narrow cuts at 2 kHz or 3 kHz to keep a piano from conflicting with the vocal and guitar tracks. This range helps the listener to pick out the melody of the bassline. ! PRESENCE 6-8 kHz – Increase to add a harder bass sound to lowest frequency instruments. A Rhodes/E-Piano has a dense and rich low end which can become muddy very quickly if not properly cut. LOW-END 0-40 Hz PRESENCE 2-3 kHz This is where you’ll find the attack tones of percussive and rhythm instruments. Remember, this guide offers rules of thumb, but different instrument designs (both software, hardware and acoustic) will mean that everything has a slightly different sound. Carefully cut mud within the 60-250 Hz range with a moderate Q. Manage this band of frequencies carefully. This helps sculpt the frequencies of the vocals and shape them. The 1.5-2.5 kHz range is responsible for tiny intricacies in chords and string-picking, but boosting it too far can make guitar sound aggressive and harsh. You can add energy, buzz and definition to a vocal track right around 3 kHz. Boost 2-3 dB with wide Q within 70-100 Hz if more presence is needed, but don’t overdo it. ATTACK 500-1 kHz Required fields are marked *, You may use these HTML tags and attributes:
. From here we can remove the low end of the vocal to remove the ‘p’ and popping sounds which get in the way an is unnecessary. All rights reserved.
Check out the video tutorial (left) if you want to see these methods step by step.
Reduce at 200 Hz to remove muddiness. To enhance the attack, boost 500-1 kHz. Lowpass around 14-15 kHz for more distant timber and to reduce harshness if needed. STRING NOISES / BOW NOISES 2 – 10 kHz Boost 2.4 kHz for string noise and 4 kHz for bow noise. FULLNESS / MUD 200-500 Hz Much of the guitar’s “life” lives in these frequencies. To soften, attenuate within the same range. The 4-6 kHz range is responsible for clarity. Boost around 5 kHz if more attack is needed and around 7 kHz for some additional sparkle. Check 250-450 Hz range for mud, boost to bring fullness. PRESENCE 5-8 kHz Highpass up to 200 Hz depending on the mix. To tighten up your vocal even more lets add in a Multiband Dynamics plugin, the preset “A Standard Multiband Comp” will work great. Boost the 2-3 kHz range to add more presence. – Increase for more attack on low piano parts. Boosting this range can add extra air and sparkle to your instrument or mix. Boost 150-250 Hz slightly if you want to warm the instrument up.
From here we can pull the thresholds of each filter (highlighted in red) down so we have a little bit of reduction on each compressor (shown by the blue numbers) The purpose of these 3 compressors is to catch any stray and loud parts in the vocals and just generally make the vocal more evened out.
Lower this range to make kick drum sound darker. LOW END 0 – 160 Hz – Increase for clarity and punch of bass.
So what does a De-Esser actually do? Just like the guitars and vocals, you can find the exciting, airy tonal characteristics here. HONK/MUD 120-400 Hz Boost 100-170 Hz range for more punch. Excess in this area can cause undesirable listener fatigue. Mud usually comes from this range. – Increase to add attack on low frequency drums (more mettalic sound). PRESENCE 1500-2500 Hz And make sure to turn the, Now we can add reverb and ping pong delay to create room and space around the vocal. Boosting 4-6 kHz range brings more air. – Reduce to decrease ambience on cymbals. Get the ERA Voice AutoEQ with the ERA 5 Bundle Standard and ERA 5 Bundle Pro. Manage this band of frequencies very carefully. Multiband Dynamics. RESONANCES 450-550 Hz First of all we need to move the Frequency knob of band 6 to tackle the High End Sibilance.
PRESENCE 4 – 6 kHz
AIR 10 – 20 kHz After this we can notch out a little bit of the mid range of our vocal to make it cleaner (see EQ band 2 above). WEIGHT/WARMTH/MUD 80-300 Hz THUMP/BODY 100-300 Hz When you add in the fact that the instruments play different notes at different times, it makes these rules even less strict. High shelf boosting of the 7-10 kHz band brings more creak of the bows while 8-12 kHz more sparkle and extra air. LOW END RUMBLE 0-160 Hz
Just like the other instruments as well, too much can be shrill and unpleasant. Knowing your EQ ranges is essential to mastering your mixing and furthering your production know-how. Your email address will not be published. Many synths become muddy in this range and can directly affect the quality of the tone and sound – especially if multiple synthesizers are layered. However with this chain you’ve covered all the essentials in creating a levelled and great vocal sound that will make them stick out in your mix. Tweak the band knob while listening carefully – frequencies that sound most dissonant should be attenuated carefully. LOW END RUMBLE 0 – 140 Hz – Increase to add more fullness to the lowest frequency instruments like kick, toms and bass drums. Highpass 60-80 Hz to taste. Be careful while mixing here as too much sub bass can make your mix sound muddy. Boost 200-300 Hz range slightly for more “chink” but don’t overdo – as it may sound muddy.
But don’t overdo, as you may thin out the sound. Avoid boosts here. MUD 250-400 Hz Boost 1.5-2 kHz a bit to add more presence and definition.
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