LouisCasper    posted on 23-04-2012 21:13
Beste leden,

De laatste tijd ben ik me wat meer aan het verdiepen in frequenties. Hoe werken ze, hoe reageren ze op elkaar en hoe werken ze het beste samen. Voorheen haalde ik uit zo goed als alles de lage kant weg, zodat het niet in de weg zat met m'n kick en m'n bassline, maar ik wil nu ook meer gaan kijken naar hoe mijn midde en hoge frequenties op elkaar reageren en hoe ik ze het best in elkaar kan smeden, zodat mijn mixes een stuk 'rustiger' gaan klinken. Mijn vraag is daarom de volgende: waar moet ik het meest op letten als ik echt een goede evenwichtige mix wil maken? Is er een lijstje waarin staat welke frequenties de bass, de kick, de clap/snare, de lead-synth etc. zouden moeten hebben? Ik zou het liefst elk geluid zijn eigen frequentiegedeelte geven zodat het een evenwichtige mix wordt, alleen ik zou niet weten hoe ik zoiets aan moet pakken. Ben zeer benieuwd hoe jullie dit aanpakken en welke ervaringen jullie hiermee hebben.

LouisCasper
http://www.louiscasper.com

MichaelMiller    posted on 23-04-2012 21:30
Heb me hier ook in verdiept! Erg interessant.. Hier heb je wel wat aan, denk ik;
General:
20 Hz and below - impossible to detect, remove as it only adds unnecessary energy to the total sound, thereby most probably holding down the overall volume of the track
60 Hz and below - sub bass (feel only)
80(-100) Hz - feel AND hear bass
100-120 Hz - the 'club sound system punch' resides here
200 Hz and below - bottom
250 Hz - notch filter here can add thump to a kick drum
150-400 Hz - boxiness
200 Hz-1.5 KHz - punch, fatness, impact
800 Hz-4 KHz - edge, clarity, harshness, defines timbre
4500 Hz - exteremly tiring to the ears, add a slight notch here
5-7 KHz - de-essing is done here
4-9 KHz - brightness, presence, definition, sibilance, high frequency distortion
6-15 KHz - air and presence
9-15 KHz - adding will give sparkle, shimmer, bring out details - cutting will smooth out harshness and darken the mix

Kicks:
60Hz with a Q of 1.4 -- Add fullness to kicks.
5Khz with a Q of 2.8 -- Adds attack to Kicks
bottom (60 - 80 Hz),
slap (4 kHz)
EQ>Cut below 80Hz to remove rumble
Boost between 80 -125 Hz for bass
Boost between 3 - 5kHz to get the slap
PROCESSING> Compression 4:1/6:1 slow attack med release.
Reverb: Tight room reverb (0.1-0.2ms)

General:
Apply a little cut at 300Hz and some boost between 40Hz and 80Hz.
Control The Attack:
Apply boost or cut around 4KHz to 6KHz.
Treat Muddiness:
Apply cut somewhere in the 100Hz to 500Hz range.
kick>> bottom depth at 60 - 80 Hz, slap attack at 2.5Hz

Snares:
200Hz - 250Hz with a Q of 1.4 -- Adds wood to snares
3Khz with a Q of 1.4 -- Adds atack to snare.
7Khz with a Q of 2.8 -- Adds Sharpness to snares and percussion
fatness at 120-240Hz
boing at 400Hz
crispness at 5kHz
snap at 10kHz
fatness (240 Hz), crispness (5 kHz)
EQ> Boost above 2kHz for that crisp edge
Cut at 1kHz to get rid of the sharp peak
Boost at 125Hz for a full snare sound
Cut at 80Hz to remove rumble
PROCESSING> Compression 4:1 slow attack med release.
Reverb: Tight room reverb (0.1-0.2ms)
snare>> fatness at 240HZ, crispness at 5 KHz

Vocals
General:
Roll off below 60Hz using a High Pass Filter. This range is unlikely to contain anything useful, so you may as well reduce the noise the track contributes to the mix.
Treat Harsh Vocals:
To soften vocals apply cut in a narrow bandwidth somewhere in the 2.5KHz to 4KHz range.
Get An Open Sound:
Apply a gentle boost above 6KHz using a shelving filter.
Get Brightness, Not Harshness:
Apply a gentle boost using a wide-band Bandpass Filter above 6KHz. Use the Sweep control to sweep the frequencies to get it right.
Get Smoothness:
Apply some cut in a narrow band in the 1KHz to 2KHz range.
Bring Out The Bass:
Apply some boost in a reasonably narrow band somewhere in the 200Hz to 600Hz range.
Radio Vocal Effect:
Apply some cut at the High Frequencies, lots of boost about 1.5KHz and lots of cut below 700Hz.
Telephone Effect:
Apply lots of compression pre EQ, and a little analogue distortion by turning up the input gain. Apply some cut at the High Frequencies, lots of boost about 1.5KHz and lots of cut below 700Hz.
vocals>> fullness at 120 Hz, boominess at 200 - 240 Hz, presence at 5 kHz, sibilance at 7.5 - 10 kHz

Hats:
10Khz with a Q of 1.0 -- Adds brightness to hats and cymbals
Hi Hat & Cymbals: sizzle (7.5 - 10 kHz), clank (200 Hz)
EQ> Boost above 5kHz for sharp sparkle
Cut at 1kHz to remove jangling
PROCESSING> Compression use high ratio for high energy feel
Reverb: Looser than Bass n Snare allow the hats and especially the Rides to ring a little
Get Definition:
Roll off everything below 600Hz using a High Pass Filter.
Get Sizzle:
Apply boost at 10KHz using a Band Pass Filter. Adjust the bandwidth to get the sound right.
Treat Clangy Hats:
Apply some cut between 1KHz and 4KHz.
hi hats/cymbals>> clank or gong sound at 200 Hz, shimmer at 7.5 kHz - 12 kHz

Guitar:
Treat Unclear Vocals:
Apply some cut to the guitar between 1KHz and 5KHz to bring the vocals to the front of the mix.
General:
Apply a little boost between 100Hz and 250Hz and again between 10KHz and 12KHz.
Acoustic Guitar
Add Sparkle:Try some gentle boost at 10KHz using a Band Pass Filter with a medium bandwidth.
General:
Try applying some mid-range cut to the rhythm section to make vocals and other instruments more clearly heard.
Other:
Voice: presence (5 kHz), sibilance (7.5 - 10 kHz), boominess (200 - 240 kHz), fullness (120 Hz)
Electric Guitar: fullness (240 Hz), bite (2.5 kHz), air / sizzle (8 kHz)
Bass Guitar: bottom (60 - 80 Hz), attack (700 - 1000 Hz), string noise (2.5 kHz)
Toms: attack (5 kHz), fullness (120 - 240 Hz)
Acoustic Guitar: harshness / bite (2 kHz), boominess (120 - 200 Hz), cut (7 - 10 kHz)
Bass - Compressed, EQ'd with a full bottom end and some mids
rack toms>> fullness at 240 Hz, attack at 5 kHz
floor toms>> fullness at 80 - 120 Hz, attack at 5 kHz
horns>> fullness at 120 - 240 Hz, shrill at 5 - 7.5 kHz
strings>> fullness at 240 Hz, scratchiness at 7.5 - 10 kHz
conga/bongo>> resonance at 200 - 240 Hz, slap at 5 kHz

General Frequencies:
EQ Reference: Frequencies
50Hz
Boost: To thicken up bass drums and sub-bass parts.
Cut: Below this frequency on all vocal tracks. This should reduce the effect of any microphone 'pops'.
70-100Hz
Boost: For bass lines and bass drums.
Cut: For vocals.
General: Be wary of boosting the bass of too many tracks. Low frequency sounds are particularly vulnerable to phase cancellation between sounds of similar frequency. This can result in a net 'cut of the bass frequencies.
200-400Hz
Boost: To add warmth to vocals or to thicken a guitar sound.
Cut: To bring more clarity to vocals or to thin cymbals and higher frequency percussion.
Boost or Cut: to control the 'woody' sound of a snare.
400-800Hz
Boost: To add warmth to toms.
Boost or Cut: To control bass clarity, or to thicken or thin guitar sounds.
General: In can be worthwhile applying cut to some of the instruments in the mix to bring more clarity to the bass within the overall mix.
800Hz-1KHz
Boost: To thicken vocal tracks. At 1 KHz apply boost to add a knock to a bass drum.
1-3KHz
Boost: To make a piano more aggressive. Applying boost between 1KHz and 5KHz will also make guitars and basslines more cutting.
Cut: Apply cut between 2 KHz and 3KHz to smooth a harsh sounding vocal part.
General: This frequency range is often used to make instruments stand out in a mix.
3-6KHz
Boost: For a more 'plucked' sounding bass part. Apply boost at around 6KHz to add some definition to vocal parts and distorted guitars.
Cut: Apply cut at about 3KHz to remove the hard edge of piercing vocals. Apply cut between 5KHZ and 6KHz to dull down some parts in a mix.
6-10KHz
Boost: To sweeten vocals. The higher the frequency you boost the more 'airy/breathy' the result will be. Also boost to add definition to the sound of acoustic guitars or to add edge to synth sounds or strings or to enhance the sound of a variety of percussion sounds. For example boost this range to:
Bring out cymbals.
Add ring to a snare.
Add edge to a bass drum.
10-16KHz
Boost: To make vocals more 'airy' or for crisp cymbals and percussion. Also boost this frequency to add sparkle to pads, but only if the frequency is present in the original sound, otherwise you will just be adding hiss to the recording.
www.facebook.com/michaelmillerofficial
LouisCasper    posted on 23-04-2012 21:42
Wow, thanks! Dit is echt EXACT waar ik naar zocht! Heel erg bedankt!

Edit:
Als iemand anders nog iets toe wil voegen/ervaringen wil delen, dan mag dat natuurlijk!
http://www.louiscasper.com
User edit by LouisCasper on 23-04-2012 @ 21:45:00 (100%)
Lead    posted on 23-04-2012 22:22
hehehe, ik wilde met ongeveer hetzelfde brok tekst komen... smile

In dit overzicht zie je op welke frequenties bij bepaalde geluiden grofweg de klanken zitten. Zo kun je dus dingen weghalen die vervelend klinken. Na verloop van tijd ga je dit op de automatische piloot gebruiken omdat het idee ongeveer voor alle instrumenten gelijk is...

Ik zoek door met een EQ (hele grote Q factor= smalle piek) een frequentie extreem te boosten en zo de vervelende frequentie te localiseren, daarna terug naar normaal volume en bijregelen. Je zult zien dat bovenstaande een richtlijn is en dat het laatste fine tunen altijd met de hand moet gebeuren.
Let the BASS be louder
MichaelMiller    posted on 23-04-2012 22:52
Poster: LouisCasper
Wow, thanks! Dit is echt EXACT waar ik naar zocht! Heel erg bedankt!
 
No problemo! Cool Blij dat je er iets aan hebt!
www.facebook.com/michaelmillerofficial
LouisCasper    posted on 23-04-2012 23:27
Poster: Lead
Ik zoek door met een EQ (hele grote Q factor= smalle piek) een frequentie extreem te boosten en zo de vervelende frequentie te localiseren, daarna terug naar normaal volume en bijregelen. Je zult zien dat bovenstaande een richtlijn is en dat het laatste fine tunen altijd met de hand moet gebeuren.
 

Zoiets heb ik vaker gehoord maar nooit écht begrepen. Wat doe je dan precies? Wat hoor je/moet je horen en wat moet je er precies bij doen? En pas je dit toe op elke aparte sound in je mix? Ik neem aan dat het per instrument verschilt wat je wel en niet wil horen.
http://www.louiscasper.com
User edit by LouisCasper on 26-04-2012 @ 08:33:01 (3%)
Avez    posted on 26-04-2012 07:34
Owh, iedere producer zou eigenlijk zich hier is in moeten verdiepen, want je merkt bij sommige track, ook van grote artiesten, dat er nog heel wat vervelende tonen tussen zitten.

Ik denk dat ik hier nog veel van ga leren! dankjewel
http://facebook.com/avineofficial | Be strong


  This is an old Topic

No new postings for 826 days.
 Post CommentThat would be 27.5 months
or a whopping 2.3 years
You might consider opening a new topic or reply anyway by pressing the green button...
Contact | About Us | DJResource 2014
Submissions OverviewProPlus RequestAdvertise