2khz seems kinda harsh at times and too much 500hz sounds "undefined". It's those I cut on my guitar using an eq pedal, of course cutting too much can make it sound like there is something missing-cause there is
That's also addressed in the course. Sometimes it is way faster to do certain things on the mix bus. Adding air to a mix is maybe the most prominent example.
Kohle, link and all, is all good but I've sent an email to support with doubts and left a message on another video. I'm interested in the subscription but I'm not getting replies or the info I need to decide. Who can I contact?
my mentor only taught me 2 frequencies: 470Hz for wood, and 2.2kHz for metal. you might not realise how important these 2 are, but they are super important.
These mix engineers will probably make sense if every mix tutorial isn't aways rock or pop 🤔 whatever you call it. Most producers or engineers I know is not into that genre or recording big rock bands.
Around 300Khz on vocals alone, as the whole mix goes, yes the lower end around 160Hz small deep, the rest it depends on material, around 4KHz is a nice place to check your annoying highs adventure while you where mixing, haha.
Is this just relative to mastering??? So say I want vocals loudest in my mix...I record / push as loud as posable...I add guitar as next behind, yet, it starts clipping because of the specific frequency's....I then cut those conflicting guitar frequency's that clip the vocals / mix...So on and so forth for each instrument??? 🤔😕IDK if that makes sense, but I'm trying to think of the lasagna layers....Introducing layers as loud as posable, then determining the additional layers frequency's that cause clipping...🍻🤘
And the next frequensies were around 500hz which is also some of those nasty areas where stuff builds up in metal. Kinda knew all of that but by trial and error but it's always cool to see that pro did it the same way.:D Were there a thing in this channel that said 350hz is an enemy of metal or something. :D Cool video again and cheers.
This is fairly similar to what I would do running front of house mixes, Yet I never even thought of doing it on recording. Proof that even after 30yrs I can still learn cool new stuff. Now I just wonder how I never even managed to try this.. ROFL Brilliant & again Thank you - I totally need to get your course - you really make this the most fun I have had in years!
Yeah that 120-240hz area really fucks up the low end energy if there's too much of it in the mix. usually I find that bass and guitars build up so much mud in those regions so fixing that in master bus makes lot of sense as there isn'nt that much important stuff going on with other instruments expect the snares bottom end.:D
I immediately disagree on the 150-250 range. There is something really angry living in a narrow band of 180-190Hz which makes your bass really growl like an angry wolf.
Very useful! I’m getting ready to release my second song, and this is what I’m encountering. The vocals are getting a bit lost against the guitars. Gonna give this a go, along with some side-chaining. 👍👍
Just pulling down those two frequencies is some kind of magical power. That was some killer stuff (and I gotta watch the course now). The difference on the 150Hz cut in the first example was way more noticeable than I thought it would be; without the cut, it actually sounded like someone had thrown a towel inside the kick drum. I don't know that I've ever described a kick drum as having "presence", but the cut definitely gave it more of that! Awesome as always, brother! :)
How does cutting 150-250Hz affect translation on smaller speakers? As I come to understand bass on small speakers rely on those higher octave harmonics. So it would be interesting to know how much of that range can be cut for it to sound still good on smaller speakers.
Youd be surprised what a 1db cut at 250hz and a 1/2db cut at 500hz will do for adding definition in heavy guitars- put it After cab block. Great for marshall types.
Okay. Interessant. Ursprünglich war mir bekannt, dass das Boosten der 150 - 250 Hz Region der besseren Hörbarkeit von Bass auf kleinen Anlagen dienlich ist. Beim Soundbeispiel mit Dymytry passiert auch das, was ich als Hörer bei sehr vielen modernen Mixen kritisiere: Es klingt überaufgeräumt und überklar. Ich präferiere da, dass ein gewisser „Restmuff" überbleibt. (Wahrscheinlich Konditionierung von den ganzen nicht-modernen Mixen.) Nur beim Beispiel mit Nihilist war es imo dienlich. Da sind die Gitarren in dieser Region aber auch sehr stark gewesen.
Zu nem gewissen Teil bleibt das natürlich Geschmacksache! Wichtig ist nur, dass man weiß, wie es geht. Und natürlich ist es, wie du sagst, materialabhängig.
Alles klar...literally. For once I could actually hear the difference. Going to give this a try on my muddy mixes. I'm also a little ashamed I recognised the Schlager stars too...
Those low mids are the reason I don’t trust my dt770 headphones for mixing as my only option cause they are already cutting them a lot and sound cleaner than it may translate to other systems. The 500hz region is the first I ll cut in live sound from Shure sm series mics for vocals and guitar amps. Those are some good frequencies to cut but if you over do it, it can make the mix to lose warmth instantly
If 500 Hz is the antithesis of everything Metal, shouldn't it be boosted in Schlager mixes? 😃 Before watching the video, I predicted 250 and 500 Hz to be the chosen trouble spots - and I wasn't disappointed!
The mix sounds like a basic demo. 2:10 - All that built room speakers and gear and it sounds like an amp sim. No power or clarity in the mix at all. No separation. Mind blowing this channel has so many subscribers.
Also, it starts in your mix. Pick an instrument to occupy the low mids, e.g. bass guitar. Pull those frequencies out of the instruments that don’t need them. Instantly, cleaner and more polished sounding mixes.
Completely agree on this! 170 Hz and 500 Hz kills anything metal. After the summer holidays we're starting our second album with the metal band. I will probably join the Kult during the production :D
Honestly I tend to reduce the entire 200-550hz range because in my opinion they are very overpowering in a bad way. Also 5k is just a nasty harsh frequency
Heh, this works for stereos too. I was curious to see what they would be. I ride a 2022 Harley Davidson Low Rider El Diablo with the Rockford audio thing and I use the Power Amp app for my music. My custom eq for that includes cuts at 125, 250 and 500 hz. Below 125 there's no boost and only a slight bump above flat at 1K leading into then a little bigger boost at 2K and then the peak boost at 4k and up... but the high is boosted a lot because wearing a full face helmet, the helmet cuts out a lot of the highs, otherwise I wouldn't boost it as much as I do. Anyway, it works for everything I listen to from Tom Waits to Billy Joel to Dayglo Abortions to Dissection to Dying Fetus to whatever. All styles it works. It's my go-too all-round EQ for any stereo system... bass may or may not get a hair added, mids stay at 0 or get cut, and highs get boosted. But I also prefer brighter mixes and guitar clarity, not out here trying to shake my booty. And of course, how much the low doesn't get touched, the mid gets cut and the high-end boosted depends what my options are, is it just a basic 2-3 band eq or a 7-10 band eq, what the speakers and listening environment dictates, etc. So flat bass, dip at low mids, less dip upper mids, boosted highs. So if 5 bands and max boost or cut is 10, maybe like... 1, -4, -2, 2, 4 or something. Though sometimes can make the bass drum "ploppy" (like too much attack). But I'm also talking as a listener here, not mixing, but the same principle applies and has the same effects.
A brickwall low cut introduces ringing, no matter which kind if digital eq you use, so this is a stupid idea, to cut with a 24 or 18db slope works, low shelve filters work, you can also use a bell curve filter to clean up the low rumble and mud, but never brickwall if you do not want to run into a lot worse problems then without a low cut.
Danke für das Video! Die tiefen Mitten sind mir in meinen letzten paar Mixes komplett abgehauen. Gerade wenn man so tief stimmt wie wir (Drop E auf 8 Saiter), dann ist das oft schwierig heraus zu hüren, was das Low-End braucht.
I feel like the cut at 500hz could be really helpful using some mid/side processing. Using it to remove some of the buildup in the guitars on the sides at 500hz and allowing the vocals to cut through in the center.
I built a rack system for live bass guitar and I implemented an outboard 31 band EQ. I found that 250 sounded woody, 800 was weird windy noise, 2.4khz was terrible string scratchy sound that hurt the ears. I cut those out and it sounds a lot cleaner. I found that the distortion lived around 1.2khz so I boosted that. It sounds great.
Sounds like you know what you were doing!🤘 Just be careful with steep cuts or boosts on graphic EQs. Because the bands are so sharp this can sound unnatural pretty quickly.
Huge thanks for having our song Nihilist Against War in the 2nd frequency part of the video! I really appreciate it! I've also been a fan of your content for almost 5 years now!
These are genius! Great video. Cleaned up my mix in a huge way. Vox came out clearer and the bassiness was taken down enough to hear everything else much clearer. This was super helpful! Thank you. Instant sub!
I still hear nothing in your examples that can't be fixed with a little eq on a single instrument instead of a mixbus. The drums sound terrible with all those low mids rolled out.
