#fomo #coachella - beccspark http://awe.sm/iKFI3
Great place to shit yourself.
This’ll be the first month working on my debut full-length album. Starting next week, I’ll be recording sound samples.
There. Now I’m accountable, and I have more motivation to get some of the boring stuff out of the way.
You can follow the Kintech project on youtube and soundcloud.
<= 30Hz Virtually undetectable, you can safely cut these frequencies
Sub bass Frequencies. “Feel” only
Add for tom “boom”. Cut to decrease bass “boom”
Boost for the kick drum lower end to cut through the mix. Notch most other instruments here. Rolling off the electric guitar here is advisable
Boost bass instruments for presence. Boost will add warmth and fullness to guitars, vocals and horns
Scooping/notching instruments here will provide room in the mix
Add for warmth. Too much will sound muddy
Top of the range for most subwoofers. Also the low end of music such as kick drums and bass guitar. Bottom end of acoustic guitar and piano. Add for warmth
Boost for strong vocal presence. Causes problems with vocal resonance and fatiguing
Slight boost for depth. Cut to reduce muddiness. This is a good area to get the “gong” out of cymbals.
Boost to fatten the snare. Boost acoustic guitars slightly to add fullness. Scoop vocal here if muddy. Notch filter here can add thump to a kick drum
Cut to remove the “cardboard” sound of drums. Notch the bass guitar a little bit to reduce presence
Provides presence, but are hard in nature. Good for rock.
Boost the bass guitar for punch. Cut the electric guitar to remove the “cheap” sound
In this area you can emphasize the “smack” of the kick’s beater
Good for adding to a dirty guitar for some real sizzle. Boost this area for bass guitar if using the pop/slap style
Boost for clarity with an acoustic guitar and piano
This is the area where vocal sibilance resides. Boost slightly to add sense of “volume” It also adds a harshness that is particularly fatiguing. Add warmth without loss of clarity by attenuating this region a bit
Boost vocal here for presence
Brightness, presence, definition, sibilance, high frequency distortion
Extremely tiring to the ears, add a slight notch here
Add a crisp, sharp “crack” to the snare. Also a good place to add some attack to the toms. Cut on background parts to make them sink in to the back a bit
Add for the sense of quality and accuracy for cymbals. Too much output will come off as lacking definition. Cut vocals to decrease sibilance
Cut or Boost to adjust brightness for cymbals and acoustic guitar
Adding will give sparkle, shimmer, bring out details. Cutting will smooth out harshness and darken the mix
Boost to add “air” and clarity to acoustic instruments
EQ Instrument breakdown
presence (5 kHz), sibilance (7.5 ‐ 10 kHz), boom (200 ‐ 240 kHz), fullness (120 Hz)
fullness (240 Hz), bite (2.5 kHz), air / sizzle (8 kHz)
bottom (60 ‐ 80 Hz), attack (700 ‐ 1000 Hz), string noise (2.5 kHz)
fatness (240 Hz), crispness (5 kHz)
bottom (60 ‐ 80 Hz), slap (4 kHz)
Hi Hat & Cymbals
sizzle (7.5 ‐ 10 kHz), clank (200 Hz)
attack (5 kHz), fullness (120 ‐ 240 Hz)
harshness / bite (2 kHz), boom (120 ‐ 200 Hz), cut (7 ‐ 10 kHz)
EQ Helpful suggestions
Embrace the idea of “notching”, when in doubt, cut instead of boosting.
Allow instruments to have their own “space” in the frequency spectrum; don’t make them fight for it.
Understand that instruments of the same type can and will sound different, EQ accordingly.
EQing WILL NOT save your mix; you can’t EQ out bad sound.
Cut frequencies below 90Hz for vocals, they add little to the mix except mud
Listen to 15 minutes of well mixed audio before any mixing session
Limit Stereo Width to 30% except special effects
Don’t forget the noise gate
The old RIAA AES mechanical rule for vinyl was to cut at 47Hz and 12k, and some great recordings were made this way. Human perception at extreme highs and lows is not all that accurate or sensitive, and a little goes a long way
the reduction of a signal level
range of frequencies
selected frequency levels are amplified
selected frequency are attenuated
increasing causes the sounds of voices and such instruments seem more “present”
describes the shape of the EQ curve (higher Q = narrower range, lower Q = wider range)
refers to the hissing “s”,”sh”,”z”, or “zh”, sound of the human voice
sound where the bass and low mid frequencies have depth and where the high frequencies are smooth sounding opposed to aggressive or fatiguing
LOOK AT ALL THE LOVE WITHIN THAT TINY OWL
Meanwhile, in America