ferez21 wrote: ↑
Tue Jun 15, 2021 2:32 am
Obviously the spectrum of each Instrument is going to be all over the place with many peaks and valleys, so when searching for clashing frequencies among multiple instruments, are we only looking at the fundemental frequencies?
I never look, I always listen. Honestly, in the 20 or so years I have been working ITB I have never once applied a spectrum analyser to anything. I listen for problems and when you do that, you will know what to trim or boost without having to work anything out. Once you know where you need to make changes, a spectrum analyser might help you to home in on it more quickly but I'd let my ears decide where to look first.
shawshawraw wrote: ↑
Wed Jun 16, 2021 5:30 am
I'm striving to think a sound in a mix as three parts: attack, sustain, and reverb. If anything clashes, which part is it offending? Instead of EQ, a compressor gets there quicker in terms of rebalancing the attack/sustain on the dry track, to make things pop or duck.
This is terrible advice. It barely makes any sense at all.
sambombe wrote: ↑
Fri Jun 18, 2021 4:33 am
So, my questions are:
1) A voice or sound or timbre has its beauty because of its frequencies, if i remove some of them, wont it loose part of its richness?
2) Some instruments have more lowend/midend/highend than others, how can i balance that in my song (to have an equilibrium on those frequencies)
3) Should i automate eq so when i solo a instrument i remove the cuts for it sound better?
My answer to all three questions is not to overthink it. If you are cutting frequencies and it ruins the sound, don't do it. There are no rules
so it's hard to answer these kinds of questions definitively.
The way you get better at this is to do it. The more experience you gain, the better your ears get and the more naturally you will deal with issues as they arise. Honestly, I don't think about those things, not specifically. I just try and make what I think is a good song and, in doing that, it seems to come out OK. That's why I don't think you should overthink it, just trust your ears and do what sounds right/good.
In the meantime, just use your ears and your brain - which part is making it hard to hear this other part? OK, what can I do with these two parts to make them work together?
Let's say it's two parts with lots of low-mids getting in each other's way. First thing I'd do is to push each part up and down an octave or two and see how that goes. I find it is usually the best fix and often makes for a fuller sounding arrangement. If that doesn't do the trick, though, the next thing I'd do is try some other presets for each instrument and see if I can find one or two different sounds that work better. Or if one part is chords, strip out one of the notes in the chord and see how that goes. All I am worried about is the song, I am not precious at all about the instruments, any particular patch or even the arrangement - I'll use whatever does the best job for the song.
But if you have to use EQ, try cutting the low mids on one and leaving the other alone. Run the frequency up and down and listen
for the spot where you get the best clarity. Then try it the other way around. Then cut both a little bit. Now choose which of those works best and use that as a starting point. You might end up cutting one by 4dB at 240Hz and the other by 2dB at 500Hz. Trust your ears and keep tweaking it until you're happy. And be gentle, don't overdo it.