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Image via Shutterstock. You asked, and you shall receive, Sonicbids blog readers. Per multiple requests, here's my guide to, "When the hell do I start turning these knobs, and where do they go? I'm not going to tell you "always notch this 9 dB here and add 3 dB here with a wide boost and, voila, perfect sound! So before you message me, "Aaron, I notched out so much Hz out of my snare, I snapped the knob off the console, and it still sounds muddy!
Sometimes a guitar cab gets mic'd up differently night to night, plus every voice is unique, and every snare drum "speaks" differently just ask a drummer. All of these minute changes and differences can and will affect the EQ decisions you'll have to make.
This is why I'm such a strong believer in ear training and learning how certain parts of the frequency spectrum present themselves outside of their source-specific applications.
That being said, these tips can be helpful as a place to start your search, but are not gospel by any means. So without further adieu, let's begin. Not everyone's ethos on EQ is the same, and most people may never see eye to eye on EQ approach. That being said, I come from the camp that subtractive over additive tends to be better for your mix in most cases.
Now, I'm not saying to live in a strictly subtractive world; I do make boosts from time to time when needed or appropriate, but it's probably a or ratio of cuts to boosts.
Also, a quick note on the topic of high pass filters: use them. They can be your best friend, but be careful as they're a double-edged sword. HP filters can quickly clean mud from your mix and open things up, but too much can lead to a thin, weak-sounding mix equally as quick. When applying them, I like to come from the top down, as I find that easier to dial in properly.
By that, I mean instead of rolling up an HP filter and listening until I think it's removed what I'm looking for, I start way above with "too much" HP filtering and roll it down until I feel that I have all the information on the bottom I need. I find it easier to hear the effect this way, which therefore allows me to more accurately and effectively control my low end.
While the snare may arguably be the most vocal drum in the kit, the kick has an amazing array of possibilities for tonal shaping. Ah yes, the It's often used and referred to as a kick, but it tends to act more as a very low tom, as it has a pitch.
This thing is the Loch Ness Monster — there tends to be more under the water. The best way to deal with a true, clean sample is to work around it. It's usually best to let the do its thing and to get the bottom end around it the hell out of the way.
If it's a fuzzy sample or has been driven and squashed, you may need to play with things above Hz, but usually live and let live is the best approach. The reason the kick and the bass tend to be mortal enemies in many mixes is they can literally occupy identical sonic space from a frequency perspective.
So before reaching in with any EQ, listen to both and decide where one will take the lead over the other, and in which ranges. Image via youtube. A note on acoustic guitar pickups piezo, in particular : Making crazy 10 dB cuts? Contemplating making some absurd boost? You're probably not wrong — the acoustic pickup world can be the Wild West when it comes to tone. Some are great, and some are downright questionable.
There are too many variables to even begin suggesting frequencies, so use your ears to guide you home on this one. In general, I find a light hand with broad strokes to be most effective on electric guitar, if any EQ is applied at all other than some filtering.
If you do decide to go hunting, however:. When looking at acoustic pianos, there are so many variations that can lead to differences in tone: upright vs. No matter what, though, the piano tends to be a behemoth in the mix — for better or worse — so most often you'll be looking to cut holes out for other things in your mix. If we're dealing with a real electric piano over a sample, things can be very situational as amp, mic'ing, and condition of the instrument itself can play such a huge role.
Honestly, I find myself treating this similarly to electric guitar, which is fitting considering the method of sound production. There are some idiosyncrasies to navigate with the attack that set it apart from its shoulder-slung brethren, but many of the same principles apply.
Much of a B3's magic comes from good mic placement and the player the right drawbar settings are game changers. EQ should be applied sparingly and mainly as a corrective measure.
Usually it's good to look to anything clashing with the bass 80 to Hz , and if it's feeling a little "chubby" in the middle and either can't get out of its own way or doesn't play nice with other mid-heavy instruments or guitars, look to make cuts somewhere between to Hz. While the near-infinite possibilities in the synth world can make this a hard one to generalize, there are some places you may start to look:. The human voice: simultaneously one of the most fickle and yet most important pieces of any mix.
Male voices, though typically lower than female, are actually more complex in their overtone structure, meaning that at least equal attention needs to be paid to the high end of a male vocal as a female. For more tips on getting the best sound every time, check out more from our resident "Angry Sound Guy.
Aaron Staniulis is not only a freelance live sound and recording engineer, but also an accomplished musician, singer, and songwriter. He has spent equal time on both sides of the microphone working for and playing alongside everyone from local bar cover bands to major label recording artists, in venues stretching from tens to tens of thousands of people. Having seen both sides at all levels gives him the perfect perspective for shedding light on the "Angry Sound Guy.
Image via Shutterstock You asked, and you shall receive, Sonicbids blog readers. Here's a detailed, instrument-by-instrument guide to EQ. Crush this range too much, though, and your snare will start to lose some life and sound two-dimensional in the mix 2, to 4, Hz - Attack: The stick on head "crack" is often found around 8, Hz Sizzle and Snap. The overtone sound of the snares themselves can either be accented or dampened somewhere around this point Toms to Hz - Body: Depends on tuning, but a good place to look for the "boom" of a tom sound.
Too much and things will sound, well, "boomy. As always, season to taste 6, Hz and up - Sizzle: This range is where the "tssssssss" part of the cymbals can be brightened up to add some more life and "air" to a cymbal wash, or you can spontaneously start bleeding from the ears if used without prejudice Synth "Kick" Ah yes, the Right around to Hz is where you can try to cut in on a bass that is too "boomy" to clean it up while preserving fundamentals to Hz - Overtones: These are the upper harmonics of most bass tones, depending on the sound you're interested in.
If you're having trouble getting a bass to cut through in a mix, especially a low-end heavy one or one that's getting played back on smaller speakers, this can be where to look to Hz - Wood: Particularly in upright basses, it's that distinctive, woody bark to 1,k Hz - Bite: The growl and attack of most basses can be either emphasized or toned down around here 2, to 5, Hz - String noise: Pretty straightforward here, I think Guitar Image via youtube.
Electric In general, I find a light hand with broad strokes to be most effective on electric guitar, if any EQ is applied at all other than some filtering. If you do decide to go hunting, however: 80 to 90 Hz and below - Mud: Lose it, crush it with your HP filter. There's pretty much nothing useful down here, and it will almost always just equate to flabbiness and noise in your tone to Hz - Thickness: This is where the "guts" of a guitar normally come from, but again, can quickly cloud a mix on you.
Use sparingly, perhaps automate to add sweetness to a solo section or an exposed part, and then tuck it away when things thicken up again to 1, Hz - Life: I call this the "life" of the electric, as many of the things that make an electric sound like an electric live in this range.
So attenuating needs to be taken into consideration carefully. Too much though, and you start fighting with your snare and things like that, so take note 1, to 2, Hz - Honk: This is where honky and harsh characteristics can usually be smoothed out with a wide cut centered somewhere in this range 3, to 8, Hz - Brilliance and Presence: This is the range that can add shimmer or allow a guitar to cut through a mix when boosted.
It can also be where you make cuts to keep a guitar from conflicting with a vocal. If making boosts in this range, keep an eye ear? Be careful not to bring out the noise of dampers on strings particularly in the 3, to 5, Hz range , as this can quickly become distracting and jarring Electric Piano Rhodes If we're dealing with a real electric piano over a sample, things can be very situational as amp, mic'ing, and condition of the instrument itself can play such a huge role.
Particularly with the rich, dense harmonics of something like a Rhodes, cutting "mud" is usually your first order of business to 1, Hz - Bark: Managing the "bark" and damper noise can sometimes be an issue, but if things are cutting through too much, odds are it's somewhere in this range Clavinet Honestly, I find myself treating this similarly to electric guitar, which is fitting considering the method of sound production. Organ B3 Much of a B3's magic comes from good mic placement and the player the right drawbar settings are game changers.
Synths While the near-infinite possibilities in the synth world can make this a hard one to generalize, there are some places you may start to look: to Hz - Thickness: Many synth sounds can get kind of muddy in this range and mess with the clarity of the sound itself, especially when you start layering multiple synths.
As we go lower, this point is also going to move lower 1, to 2, Hz - Squawk: Again, the type of sax itself may cause this point to float a little more, but you can cut the "parrot on a 'roid-rage bender" tendency of some instruments here 6, Hz - Reed noise: As saxes generate sound from a thin piece of wood vibrating in an air stream, there's a noise that sometimes accompanies this. Right around this point is where to start looking for that vibration Brass This can be applied to all brass in general, but particularly with trumpet and trombone in mind.
Getting it out of the way is usually best, as this range will serve little except to cloud most mixes 4, to 10, Hz - Brightness: This top end can brighten up a dark horn section. Get rid of it Hz - Boom: This frequency is usually where you'll find the "head cold" sound.
The female voice may run a little higher, but this is the ballpark. Not enough, and the vocal may sound deflated, flat, and dull. If your vocalist sounds like meat hitting a hot pan at the end of any word ending in "s" or a similar sound, this is where to hunt 10, Hz and up - Air: Want to "open up" your vocal a little? Apply a light shelf boost around here and that should do it. This is not always necessary, though, and simply adding "air" for the sake of it can make things harsh, brittle, and introduce noise to the sound For more tips on getting the best sound every time, check out more from our resident "Angry Sound Guy.
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Location, location, location. No matter what audio equipment you have, proper speaker placement can significantly improve your listening experience. Here are 7 quick tips to help you get the most out of your stereo speakers:. Initial placement. Decide roughly where you will be positioned when listening, then place your speakers so that they form an equilateral triangle with your listening position.
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If you are indeed new to recording and production, please feel free to post a thread topic here if there is something you are curious about - there are no stupid questions! On the other hand, if you are a seasoned pro, please don't hesitate to jump in and offer your experience and wisdom. We all had to start somewhere! Looking for a buyer's guide? We've got those too - click here to see an ever-growing list of community-voted "top ten" lists. When you buy products through links across our site, we may earn an affiliate commission. Learn more You may notice that the 'cookie consent' form pops up more often than usual lately - we are tweaking it behind-the-scenes to make sure it's working comprehensively. If you see it again it's because something has changed so please set your preferences accordingly. Please help the original poster by using the button to rate the best answers to this question! I suggest u put levels way down on tracks
25 of the best tracks for testing bass
They disappear on laptop speakers. And they often compete with the kick and bass—causing a boomy, muddy mess. Read on to learn the secrets to crafting s that sound larger than life. Instead, start with the right ingredients.
Bass Amp EQ for Beginners
Products featured are independently selected by our editorial team and we may earn a commission from purchases made from our links; the retailer may also receive certain auditable data for accounting purposes. Tower speakers take up significantly less space compared to a sound bar or traditional stereo speaker set , while taking full advantage of vertical space, easily sliding into tight spots next to your TV or in-between bookshelves. Not only are they powerful, filling up even big rooms with full sound, these floorstanding speakers make your media center stand out, creating a clean and grandiose looking and sounding setup. As a general rule in any stereo, the subwoofers handle the lower end of the sound spectrum, where instruments like bass would be, while mid-range drivers and tweeters handle the high end of things. In most other stereo sets, a separate subwoofer unit is needed to not only feel the booming bass, but to take the workload off the tweeters so they can focus on producing the highs. But a floorstanding unit will usually contain the subwoofer as well as the tweeters and any mid-range producing speakers, all within one frame, meaning that the set of two towers or sometimes even just one are enough to experience deep, thunderous bass along with balanced mids and shimmering highs.
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R 2, Alesis Elevate 4 studio speakers deliver full-range sound with impressive clarity and warmth to all your mixes, masters and multimedia content. Elevate 4 speakers bring out every detail of the sound, unencumbered and crystal clear. You must be logged in to post a review. Elevate 4 studio speakers contain powerful, four-inch woofers and crisp-sounding one-inch silk-dome tweeters that deliver full lows, clean highs and a precise stereo image. Packaged in stereo-matched sets, Elevate 4 studio speakers give you everything you need, all in one box. Alesis has been creating studio monitors for nearly a quarter century. Built using technology adopted from our award-winning Monitor One and M1Active professional studio monitors, Elevate 4 studio speakers are the perfect way to upgrade your computer or mobile device experience.
Top 10 Bass Songs For Car
Skip to main content. Verified Purchase. Update: I forgot to mention the bass boast feature on here.
Live Sound Part II: EQing For Success
RELATED VIDEO: Juicy J - Bounce It (Explicit) ft. Wale, Trey Song Bass Boosted (HD)The type and number of channels for each surround format is indicated by the numbers in its name. The first number indicates the number of main channels. The second number indicates the number of LFE channels often, a subwoofer. The third number indicates the number of top channels usually overhead speakers.
I have a digi , pt 6. I imported the bounced wav into pro tools and it is bassy there too. Any advice would be appreciated. I can't use either one, the L2 dither is best. Very slight, but noticeable in comparison. Also make sure you are not slamming your master fader. Try an external cd burner to do bounces.
Punching above its weight, this combo features two channels with an extra voicing on each for even more versatility. Each channel houses its own gain and volume controls, allowing for level-matching the volume when switching between the clean and high gain channels. The Boost control allows you to add another 10Db of foot-switchable volume to your tone — perfect for ensuring your solos cut through the mix.
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