19 Apr
2013
19 Apr
'13
4:26 p.m.
Brent Busby <brent@...> writes:
When sounds are competing in the mix, the frequently
given advice is
usually to carve out frequency ranges for them with EQ.
But what do you do when its a thick analog keyboard part that spans a
4-octave range, and the range it's playing is the whole musical point of
it? What do you do for those parts that won't fit in an EQ shoebox?
I'm thinking of some advice from Ermin Hamidovic, author of The Systematic
Mixing Guide. If it's a thick synth pad, like those 80s stabs, the problem
could be much like the problem of mixing distorted guitars into a crowded
metal mix (he produces metal for a living). His approach is to record the
guitars as big, fat and gnarly as he possibly can, then carve away everywhere
there's some other instrument chewing up frequency real estate. The result
will sound thin when solo'ed, but fill out the mix when the drums, bass,
vocals etc are all in. (This latter point connects with other reasonable
mixing advice I've heard from many other sources: the point in mixing is 100%
NOT to EQ the individual tracks to make them sound great alone, but to make
them sound great together. No one will hear your synth track by itself...)
I have a feeling this technique takes a lot of practice: If done badly, it'll
wreck the instrument's sound more than it'll avoid clashes. But it can be done
well, and it strikes me as a valid approach.
hjh