![]() You would do this with equipment that produces white pink noise - a signal that plays a range of frequencies with the same power in each octave. You can only change the output of your system. But you can't change the dynamics of the room. Ideally, you want all frequencies to be the same volume when played at the same volume, as /u/diamondjo said. Some frequencies get absorbed by carpets, chairs, walls etc, and some get reflected. Be careful not to boost too heavily, or else the mix will sound noisy.Įach room has its own frequency profile. ![]() Pads and atmospheric sounds benefits from a boost in this range to make them sound brighter. You can boost here to add even more air and transparency to sounds, and cut here to remove noise and hissing sounds which is unwanted in a bassline, for example. This frequency range is where the crispness and brightness of sounds lie, and hi-hats and cymbals are the dominant drum parts. The sounds «S» and «T» lies between 6kHz and 8kHz and too much volume there will make the vocals stressful on your ears. In vocals, cut some of these frequencies (a de-esser plugin does this easily) to remove the hissing sounds. Snares and bassdrums also benefits from boosting this area. Crispness and and sparkle can be added by boosting this range on guitars, strings and synth sounds. Boosting here helps defining most instruments and vocals.īoost this area to add more air and transparency to a sound. Cut in the upper part to soften/round off sounds, and boost to add more clarity or presence to a sound. Cut in the lower part to remove the hard sound of vocals. Plucky, fingered guitars and basslines can be more defined by boosting in this range. Vocals have a lot of sound in this area, the sounds «B», «M» and «V» lie here. This frequency range is very hard on the ears, so be careful not adding too much volume here! Cut here to remove painful mid-frequencies in vocals. This is the edgy part of a sound, boost (gently!) here to define guitars, pianos, vocals and add clarity to basslines. Boosting around 1kHz helps add to the «knocking» sound of a kick drum. Here you can also fatten up vocals and make them sound warmer, in a different way than the previously mentioned method. Boost or cut here to fatten up or thin out the low end of guitars, synthlines and vocals. You can reduce some of these frequencies on the master mix to make your overall bass level sound tighter. Boosting around 500Hz – 1kHz can sound «horn-like» while boosting 1kHz – 2kHz can sound metallic. Most instruments have their «darkest» parts here guitars, piano, synthlines. Cut this to thin out drum parts like snares, hi-hats, percussions and cymbals, boost to make them sound warmer or more «woody.» Too much volume here will cause vocals to sound muddy and unclear. Too much volume here makes the mix sound «boomy.» This range should also be lowered in most other sounds like guitars, synth lines and vocals so they don't interfere with the kick and bassline. A useful trick then is to try PHASE INVERSION on either the bassline or the kick drum, compressing the kick and bass together and/or avoiding to place a bass note on top of a kick drum. A common problem is that the bassline and kick cancel each other out due to PHASE problems (easily demonstrated when DJ-ing, if you play two tracks and have them beatmatched, it's important to cut one of the tracks' bass level or else the kick drums will cancel each other out and the overall bass level is lowered). This is where basslines and kick drums have their most important sounds. Too much volume in this range makes your mix sound «muddy.» Use this range to fatten up your kick drums or sub-bass patches. Sounds with these frequencies are the most powerful ones, and they will take up a lot of room in the mix. ![]() This is the super low-end that can be felt physically by your body on a good subwoofer/sub-bass system.
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