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Author Topic: 100-700HZ  (Read 6961 times)

Hallams

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Re: 100-700HZ
« Reply #15 on: May 27, 2009, 07:11:28 pm »

This is something i'm trying to figure out in relation to the choice and placement of the mid mic in M/S. It is easy to get an open sounding result in stereo but as soon as i switch to mono the sound clouds over a bit mostly in the upper mids. It takes a lot more work to get this right. A quick "she'll be right mate" approach invariably gets it wrong.
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Chris Hallam.
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Nick Sevilla

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Re: 100-700HZ
« Reply #16 on: May 28, 2009, 04:21:51 pm »

Once you figure out the song arrangement (and this is very very very very very important), you can than assign the instrument(s) that will fill this area.

When I'm mixing, and being given tracks that I did not record myself, I tend to pay hours of attention to the producers' intent in the arrangement, then it all seems to fall into place after that.

Panning sure helps this frequency area a lot, as well as using space FX (delays), dulling EQ on some instruments to make them seem farther, and lowering their levels as well.

When I'm encountering layered instruments (double guitars, et al) I tend to have one of them dominate a little more during parts, and the other during other parts of the song, thus making it more interesting to listen to, rather than a super-uniform blend of two instruments.

Cheers
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Alécio Costa - Brazil

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Re: 100-700HZ
« Reply #17 on: May 30, 2009, 01:27:54 am »

Combine a Fat Snare top/bottom, acoustic guitar (nylon or steel), a few congas or otther percussive elements and a boomy vocal track (s)...if you are not carefull, you might end up with a mix tearing your ears  at 240-320hz.

A tougher secenario is when you have a 6 string acoustic guitar fighting against a 7 string acoustig guitar, a bass guitar and percussive intense stuff...
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maarvold

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Re: 100-700HZ
« Reply #18 on: July 07, 2009, 12:17:40 am »

For me, the true 'hate zone' (when it's not right) is 210 - 400 Hz, occasionally straying as low as 195 or as high as 550.  But 'pet' areas to SLIGHTLY nip & tuck are 215, 240, 265, 320, 365 and 400 specifically--each one has its own uniquely annoying 'clogging' character when it is too big or not right.  But you have to be very careful: it's easy to "throw the baby out with the bathwater".  
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Michael Aarvold
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Waltz Mastering

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Re: 100-700HZ
« Reply #19 on: July 07, 2009, 07:44:22 am »

Maybe part of the reason the frequency range  between 150 and 450 is sometimes hard to get a handle on is that  a lot of the beef, or the range that adds a lot of the character and weight to many instruments seems to intersect there.  

Besides the obvious instrument bass guitar,  the low mid punch of a kick drum, the thwak or cajones of the snare, the girth of guitars, the bottom end of vocals, the low end of the keys, etc.  are all some of the things that seem to be fighting for the same space in that region, so it just takes a little sorting out.   To much and you get mud or dark, not enough and you get flimsy or light, just right and you can get things to stand up pretty nice.

mcsnare

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Re: 100-700HZ
« Reply #20 on: July 07, 2009, 11:27:42 pm »

It's hard to get that area right because most people can't hear that area accurately in their mix rooms.

Dave

maarvold

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Re: 100-700HZ
« Reply #21 on: July 08, 2009, 10:32:33 pm »

mcsnare wrote on Tue, 07 July 2009 20:27

It's hard to get that area right because most people can't hear that area accurately in their mix rooms.

Dave


TOTAL agreement here.  And when you get it right (in your mix) it can be magical.  
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Michael Aarvold
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Seb Riou

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Re: 100-700HZ
« Reply #22 on: July 12, 2009, 06:03:46 am »

mcsnare wrote on Tue, 07 July 2009 22:27

It's hard to get that area right because most people can't hear that area accurately in their mix rooms.

Dave


+1 on that

Hi, first post here.

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mattianlaseppia

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Re: 100-700HZ
« Reply #23 on: July 16, 2009, 09:02:55 pm »

wow i forget how much beautiful is this forum!

well.. tonight i've done some measurement in my room to find the best place to recording my bass guitar.. strangely was in a corner, but all fit with a lot of rockwool, anyway.. i've a Gallien krueger amp for my bass guitar, before i had only tube amp, but that's another story. well.. the GK (rb700mkII) has it's cab rbh 2x10 with reflex

pink noise, mic for measurement and.. i found out that the GK is totally flat from 50 hz to 300 hz.. but for flat i mean FLAT!

not +/- 3db.. was around +/- 1 or max 2db but you don't notice it.. you see a line!

and that was from close micing till 88 cm means.. A LOT to me.

this amp is really fast and punchy and i think the way it treats the low end and the low mids is its goal.

so that can be related to the mix.

i think you need a flat and very focused range (there is nothing under 50hz in my GK) on the tracks you mix.. than you need a presence peak (the GK has a presence peak from 1.5 to 2k more or less.. exactly for the bass, you don't need the eq) depending on the track.. than you need a dip on the mid low depending on the nature of the track.

and that's the point where you can do the mix.. with dips in each tracks, different dips.. but i think just one.. or maybe a broadband and a narrow on a particular resonance.

i found out myself using the analyzer and this incredible airEQ plug in.. which with the Q at 7 you can cut just only 1db or 2 and if you cut more is too much (because you shift the problem in another part of the spectrum)  watching the analyzer you can see that the audio goes down of 5/6 db or even more with just a cut of 1/2 db.. incredible. is like a mute for resonance.. (which eat the headroom of your 100/700 hz)  

well i've seen that making the low end and mid lows as flat as i can catching resonances or with a broadband cut other times (or even shelf and hpf), and also with compression or multiband compression, i have a track that cuts the mix.

than i have just to define more the limits of each tracks in the mid/low end, meaning if a track has nothing interesting around 400 i cut a bit broadband (or Q at 1) here and if the bass has something interesting i boost.. than maybe i boost at 200 the kick and i cut the bass in the same range.

but before i think is essential work to have a flattest mid/low end and a hi mid/hi presence peak. you can even cut all the rest if you need a really clean/separated mix.

that's my thought.. maybe i'm wrong, let me know
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Seb Riou

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Re: 100-700HZ
« Reply #24 on: July 17, 2009, 01:04:26 pm »

Lotsa lomids : could also be too much of close micing = proximity effect.
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Nicky D

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Re: 100-700HZ
« Reply #25 on: July 25, 2009, 12:24:51 pm »

wwittman wrote on Sat, 18 April 2009 22:53

that's okay, I rarely actually MIC them


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Nicky D

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Re: 100-700HZ
« Reply #26 on: July 25, 2009, 12:27:47 pm »

Al
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