low brow mastering/mixing eq...

[thearnicasync]

Hi Y'all,

I'm happy to finally finish some recordings...! Now, I'm just trying to figure out how to de-mud them. Do you have any special frequencies you cut on bass (stereo bus or bass track - Fender P Bass through fender guitar amp)? I'm leaning towards mixing of individual tracks...the snare has a nice low punch to it I don't want to kill on the stereo mix.

Muchas, muchas gracias....

kelly

[vvv]

Such a general question for what are undoubtedly some specific problems.

As a starting point, look at 50Hz and lower, and generally at 200-250Hz and 400Hz.

Better yet, look at some books (Modern Recording, etc.) and/or web sites (try studiocovers.com) and start with their advice.

Best yet, use yer ears!

[thearnicasync]

VVV,

Sorry 'bout that...you're absolutely right regarding how vague that question is...

Ultimately, it's a rock recording and I guess I want the frequencies to fall into that aesthetic paradigm. I think I use my ears pretty much, I'm just drawing a blank and wondering if others cut bass (on rock recordings) at a magic, de-mudding frequency. And I hate that I can dial it in on my car stereo, but don't know what frequency it's cutting. Blah, blah, blah.

Again, thanks for you response. Maybe I should post an mp3 and move it over to the other part of the message board...

[logancircle]

Is there a way you can research what frequencies are affected by your car stereo and how much turning the dial adds/subtracts? Maybe the manual says. I bet the info is out there somewhere. Good luck!

[thearnicasync]

I know, I know, but it's a stock stereo and there's no mention of frequency in the manual...just the decibels cut/boost (+/- 15db).

Poop.

kellyb

[thearnicasync]

Oh...and by the way, I just found the "best of" topic for "muddy mixes." Such good advice...I'm going to give it a try with the Waves C4 and see what I can do. Multi-band compression is a Jacob's Ladder for someone with my lack of experience, but I'll try anything...

[mpedrummer]

For whatever reason, 315Hz is a magic number to cut for me...and I record in many different rooms, mix in different rooms...it's not a build-up thing, there's just something about 315...

[stillafool]

I track on powered nearfields, then I put the mix through a variety of different speakers. I've actually found that my powered multimedia speakers (less than 50 dollars) and my ghetto blaster give me a better idea of how the mix is going to sound on a car stereo or another shitty stereo. Nearfields are going to have way better bass response than your average stereo -- so a mix that sounds phenomenal on your studio monitors are going to sound boomy on your 100 dollar stereo you bought at Best Buy. First thing I usually do is drop the bass in volume, and maybe compress it with Waves Ren Comp. Then I might use a high-pass filter to cut everything below 60 or 70 hz, and maybe boost a bit between 1 and 2 Khz if I want some harmonics/finger noise. Then I might use a low pass filter to cut all of the high frequencies over 2 or so Khz if there's any noise on the track. Usually just moving the faders a bit and maybe adding some compression helps more than eqing if it's a decently recorded track.

[Professor]

315 is a magic number and lots of engineers have found that they always feel happy after dropping out a little bit, maybe one or two dB at 315Hz. My masterlinks only get as close as 320 but it still has that effect and it is almost always a good place to start. Of course working down from there in octaves isn't a bad idea either, 157.5, then about 80, etc. Keep in mind though that an average two-way nearfield monitor will not replay the bass below about 50Hz with any accuracy and will usually emphasize the harmonics above any low bass it can't play. That is, if there is a lot of 30Hz in the recording that the drivers can't play, you will notice a bump at 60 and 120, and possibly at 90 depending on the type of sound.

-Jeremy

[thearnicasync]

I can't get over how much you all rule. I should've gone and tried 315 before writing this, but I'm almost in tears.

No joke,

kellyb

[mpedrummer]

Glad we could help

[stillafool]

No shit. That 315 Hz tip I'm definitely going to try -- because I find it's the exact frequency I boost on my vocals to give them more fullness.

[Piotr]

It is crucial to notch some 315Hz when using stage monitors in live settings. The feedback problems can be tremendous...

[MoreSpaceEcho]

I can't get over how much you all rule.

for real.

professor's advice about working down in octaves is especially right on.

when i'm 'mastering' and something seems kinda murky i almost always start at 315 or so. and often a cut at 150 helps a lot too. even stuff that comes in sounding good usually sounds nicer with a little dip around 315...too much though and you lose a lot of meat on the snare. which is, of course, totally unacceptable

my other magic frequency is 560 on drums. if they sound boxy try cutting around there, if it isn't better try around 400. again, too much and it sounds phony and scooped out, and i hate using eq on drums at all, but if they're sucking, cuts in those areas always seem to help.

-scott