Even better: do the "Abbey Road reverb trick" where you do a steep low-cut at 600Hz *and* a steep high-cut at 10kHz. This can be either set up in a separate EQ before the reverb (especially when it's an aux/effect) or within the reverb plugin if it allows it.
@@SAMA-ct2li Set an EQ before reverb with a low-cut/high-pass at 600Hz and a high-cut/low-pass at 10kHz. In this way, only the midrange is fed into the reverb and not the lows or the highs.
@@SAMA-ct2li If there is something like a “pre-EQ” feature on the reverb plugin itself (I know some of them do), that should work. I think there are some that actually have a “pre-filter” that will do the same thing.
@@DerekPower thanks for the help! Are you a mix engineer, sorry to bother you but I have a few questions that I can't seem to find answers for anywhere. !!? I
Rule #0: high pass everything from an analogue source, such as microphones or instrument pickups - _before_ you do anything else with them. You don't want the inaudible
Joe, are you playing 4th's on the lowest guitar part for the lowest two notes? (It sounds like 4th's.) 4th's, instead of 5th's (typical power chords) always sound boomier & bigger than you might want some cases. (4ths really pull your ear towards it more than 5ths, so it's hard to always use processing, because that will take out the reason that the 4th's can sound so powerful to begin with.) I'm okay being wrong, but the reason it's stuck out is because it sounds like your guitar arrangement's lowest two notes are 4th's. (Sorry if I misheard.)
This just makes me want to be a contrarian and experiment with stereo bass. I swear there have to be effective songs that use a stereo bass guitar. In fact, I was just listening to the isolated bass of "YYZ" by Rush last night and when he goes to the super fast part, the bass suddenly becomes stereo. It almost sounds like he doubled it and panned them out. Granted, something like this would work much better in a sparser arrangement. I'm pretty sure I've also heard Muse do it. Again, another three-piece group.
3:49 I usually boost around 140Hz on the bass and then cut the same on the kick drum. I read that a long time ago in Bobby Owinski's mixing handbook. Sometimes I do the opposite and cut/boost those frequencies for the bass/kick.
Great tips, thanks! But one question on Tip #1 (low end at center): I always keep my bass, kick, and most of the time the lead vocals are there too. But what about something like floor toms? I generally pan my drums in "drummer's perspective," which leaves the floor toms panned about 90% right. I need a good amount of low end in the FT to do it justice - sometimes it can be quite heavy. Is that a bad move? I suppose maybe that is mitigated by the use of stereo overheads being hard left and right (imaging more center), which contain some of the FT sound. Thoughts?
Try not planning the drums so wide. My cymbols go out to maybe 20 or 30 to the R/L. My toms I'll keep between 10 and 15. You can still hear the movement and the low end of the toms stays more centered. Think about when we hear drums in person, we don't hear the toms in our right and left ears only.
Really like that soloed vocal. It’s eerie in all the best ways. I think a reharmonization of that vocal with more bgv’s and a stripped down instrumentation could be really cool.
Hey there Joe, When I mix, i like my mixes to sound like you are listening to a band live. Think about how a band looks on stage. Drums and bass in the center, keyboards and singers off to the side and lead singer in the front of the center.
Hey Joe. Question... What about the low bass in a strings vst.? Usually those vets have violin, viola and contra bass in there on separate tracks. How can I get the bass in the middle? Thanks
Great info! Bottom and low mids must be dealt with, for clarity. Upper mids need to be sweet, not abrasive. The Fletcher-Munsen curve provides a lot of clues. 😊 Subtractive EQ is probably more important...just some thoughts.
Hey guys just a question if anyone can help. I am in the process of building my home studio and I know Graham said in his mixing course that if you have a rectangle room to have your mixing desk on one of the smaller walls. However in my room, one wall has a windows and the other has a door. Which wall should I but it on??? Or should I put it on one of the larger walls (the difference is about is about 76cm)
Love your work, Joe! I usually use a low pass on the reverb as well. I find to much top end makes the reverb sound "buzzy". Sometimes those filters are quite severe.
Excellent as usual! Still confused though about the two channels. You present The Recording Revolution in a Home Studio Corner tee😁, maybe separate the two channels? What content goes where? Or merge everything into one channel? Just my two cents….👊
Question: Djent metal guitars tend to need "cabinet rumble" at the lower end to give the chuginess. Obviously competes with the bass / kick at times. Is it better to EQ / Dynamic EQ / Sidechain, or some other approach?
I like especially the #2 advice because I've been doing this all the time, but in a more aggressive way. I find this nasty trouble-making frequency somewhere in the 150 Hz range with a very narrow filter, like 0.1 or 0.2 octave wide. Then I cut it by at least 6 dB, and many times, I go to about 10. I am ashamed to admit that sometimes I even do it on the output mix channel, and it usually (but not always) makes the bass sound much better. It's like putting a sort of wall between low end and mid range.
yeah. gotta make room for the bass. The bass (guitar) makes up a big part of a guitar tone. And a multiband comp for controling palm mutes. good video.
In some cases when there are no drums and bass you can allow the bass from the guitars and I a sidechain with a hi pass (if you are lazy). And of course automation of the hipass eq would be great.
Hey Joe I love your videos. Pls do you have any videos on how to get rid of high frequency noise especially the kind that comes from recording with bad cables.
Great video. Keep in mind when you boost with a narrow bandwidth, the filter will accentuate the harmonics above the fundamental. In the bass section, the note that you sang which is closer to 300hz is a product of gain and filter resonance not necessarily the presence or abundance of that frequency in the track. Not saying anything about your approach is wrong just that this phenomenon can be misleading.
@@blandwithoutblues I'm not implying anything. I'm stating as fact that a narrow band parametric EQ filter will resonate with gain. That resonance becomes more pronounced as the gain approaches clipping. Now, a HPF can influence frequencies above the cutoff and impact the other bands, but I was writing about narrow band parametric.
