Mixing Tips
EQ:
EQ, or equalization, is used to differentiate
sounds within an overall frequency range. Without EQ, certain
sounds can mask others and the mix may sound muddy. EQ puts
every sound in it's proper frequency. If panning can be
thought of as left and right mixing, EQ can be though of
as up and down mixing. You want the higher frequencies to
stand out on certain instruments and the lower frequencies
to stand out on other instruments. If you try to boost the
same frequency on all the tracks, you will end up without
much clarity. Certain frequencies can sound more desireable,
while others may sound harsh or even nasal. Sometimes you
may want to boost frequencies that would normally sound
bad, to make instruments stand out more in the mix. Good
EQ is both something that is learned over time, and something
that is somewhat subjective. It is the salt and pepper of
mixing.
Sometimes cutting certain frequencies
from an instrument can be as useful as boosting other frequencies.
If you want to bring out more high frequency to add clarity
to a bass guitar, you can try cutting the low-mid frequencies
instead. This is known as subtractive EQing, and is preferred
by many engineers because it doesn't add any sound. Also,
if you want more low-mid warmth in the bass, you can try
cutting the low-mids on an acoustic guitar, or keyboard
track. In addition to cutting the low-mids on the one track,
you could also boost the same frequency on the bass track.
By cutting the frequency on one track, it carves out the
frequency for the track you want it boosted on to rest in.
This prevents masking, and requires less boost of EQ.
If your snare drum has an annoying
midrange ringing, cutting around 1500-2000 Hz can improve
the sound. Boosting between 10,000 and 20,000 Hz on cymbal
tracks can really make them stand out. Cutting around 100-250
Hz on an acoustic guitar track can remove some of the boominess.
Use your ears for any additional fine-tuning of EQ. If you're
unsure of what frequency range is causing an unpleasant
sound on a track, try boosting EQ to find it. Boost different
frequencies until the unpleasant sound is REALLY present,
then cut that frequency range to reduce the offending noise.
There are two different types of
EQ units or software plug-ins: parametric, or shelved frequency.
In a parametric EQ, you have a certain
number of adjustable boost and cut controls. You can choose
to boost or cut any frequency you choose, but you have a
limited number of boost/cut functions. Usually, parametric
EQs feature four frequency controls. You can choose a bass
frequency and boost or cut it. You can choose a low-mid
range frequency and boost or cut it. You can choose a high-mid
frequency and boost or cut it. You can choose a high frequency
and boost or cut it. Also parametric EQs have a Q control,
which controls just how precise your frequency selection
is. A very tight Q just boosts/cuts the frequency you select.
A looser Q uses the frequency you select as a center point
for a frequency curve. If you want a mid-frequency scoop
for slap bass, you probably want to apply a looser Q and
cut the low-mid to mid frequency range. If you want to get
rid of a specific frequency, you want to cut it with a tighter
Q.
In a shelved frequency EQ, you don't
have as much control over frequency. You have a certain
number of boost/cut controls "shelved" at specific
frequencies. You can only adjust the levels of frequencies
that are provided. The different frequencies available are
also called bands. Common configurations are 15 band and
31 band EQs. Usually the bands range from low frequency
to high frequency, with certain frequencies omitted. The
adjustable frequencies are generally spaced at an even distance
apart. The drawback to a shelved frequency EQ is that you
may not be able to find the exact frequency you want to
boost or cut. It might not be one of the shelved frequencies
of the EQ. On the other hand, it can be far simpler to use
for general tone shaping. And if you have more than four
frequencies that you want to adjust, it can really offer
more tone shaping than parametric EQ.
General EQ:
Low frequency is the hardest to control.
It can overload speakers too easily, so you have to be very
careful when boosting. Often, to get a fatter bass sound
you need to compress a track. If you simply try to boost
it, you will overload the speakers long before you get the
desired sound. If you have a sound that seems to be overloading
speakers at lower volume levels, try cutting the low frequencies.
Low-mid frequency can add warmth
to a sterile or harsh sounding track, but it can also muddy
up a track. If you want to add warmth you can boost low-mids,
if you want to add clarity you can cut low-mids. Sometimes,
a little compression coupled with a low-mid boost will really
make a fretless bass or keyboard track sing.
High-mid frequency can add clarity
in certain ranges and can sound nasal in other frequencies.
It can also add a vintage motown sound to bass tracks, if
you find the right frequency. Some rock bassists prefer
to boost the really high frequency mid-range, to help cut
through the bass heavy sound nu-metal guitarists prefer.
Also, you can cut hi-mid frequencies to get rid of some
of the ringing on snare and tom drums.
High frequency can add sparkle to
certain tracks. It can also add hiss and electronic noise,
so you have to be careful in applying it. On cymbals it
can really make the tracks stand out. Also, coupled with
a mid-frequency scoop, it can bring a slap bass track up
out of the mix. If you have a bass part with too much fret
and string noise, you may want to cut some high frequency.
If you have a vocal or horn part that needs more "air"
to it, you may want to boost the high frequency.
