EQ Magazine - November 2008 - (Page 48)

MIX BUS 200Hz and 400Hz, and see if you can get away with rolling off everything above 3kHz–4kHz to leave room for some sizzle elsewhere. Hard uses an in-the-box compressor for bass (unless he’s re-amping) set to a 4:1 ratio, and he varies the attack and release times depending upon the tune (fast/slow for a mushier sound, medium/fast for a tighter one). For the guitars, use a highpass filter to take out everything below 100Hz. Listen for any other low-mid rumbling that is clouding up the mix and notch it out. The 200Hz–400Hz range may need some attention for clarity, as well. Hard prefers not to compress guitars unless absolutely necessary. VOCALS Listen to how the vocals sit in the mix with the other instruments. Using the Digidesign EQ3, Hard will take off everything below 80Hz, shave off a hair around 100Hz, and create a slight dip at 400Hz. (Note that these are opposing frequencies to the ones carved out in the rhythm section.) Then, he will add some presence between 1.5kHz and 6kHz, and perhaps add some heavy compression with Purple Audio’s MC76 set to a 4:1 ratio, a fast attack, and a fast release. “For vocals, I use compression for somewhat of an effect,” says Hard. “I like how it brings up all the other noises going on—not so much the breaths, but the attack and decay of the words. I want to hear every nuance, every little thing the singer is doing.” MIX BUS PROCESSING Hard adds some mix-bus compression with a 3:1 ratio, the attack set to 1ms, and the release set as fast as possible. Of course, this requires that your current track levels, EQ, and compression may have to be revised a bit to accommodate the overall mix compression). “If you carve things out right initially, your balances will sort of come together much easier, and you can raise and lower different instruments without destroying the whole mix,” says Hard. EFFECTS Keep reverb plug-ins to a minimum to avoid creating a variety of differentsounding spaces. Hard recommends sticking with just two—usually a plate for vocals and acoustic guitars, and a room or big hall for electric guitars and keyboards (depending upon the song and its arrangement, of course). For any mono tracks that need more space and depth, Hard may also add a reverb plug-in on the track’s channel insert. “I like to use one of the ‘church’ settings from Digidesign’s DVerb,” he says. “I usually set the reverb 100 percent wet, because it gives you a really wide pad sound, as well as a stereo effect to an otherwise cording at the Learn audio reof Recording Conservatory s. Arts & Science ording, you need 4.4075 Call today! 888.60, AZ 85282 pe 2300 E Broadway Rd | Tem ) rt, AZ 85233 (satellite facility 1205 N Fiesta Blvd | Gilbe m/eq.html career in audio rec If you’re serious about a mitted to your ording school that is as com to attend a rec success as you are. teaches you ording Arts and Sciences The Conservatory of Rec ent in eight world-class ing equipm on state of the art record are foot live sound room. s, six labs, and a 6,000 squ studio ard ed Gold and Platinum aw You’ll study under season ceed. know what it takes to suc winning instructors who Smaart, in Pro Tools, Logic Pro, EAW helps You’ll earn certifications e that receive a laptop packag Waves, and more. You’ll Connect ng in class, access CRAS you follow alo delivery system), (our web based curriculum ional access cat and gives you 24 hour edu d before you n while you’re at home. An eve ’ll complete as internship graduate, you ose. at a location you help cho When it comes to audio… ool.co www.audiorecordingsch . LET WE ARE THE EXPERTS E MIX. US HELP YOU GET IN TH 48 EQ NOVEMBER 2008 www.eqmag.com http://www.audiorecordingschool.com/eq.html http://www.audiorecordingschool.com/eq.html http://www.eqmag.com

Table of Contents Feed for the Digital Edition of EQ Magazine - November 2008

EQ Magazine - November 2008 Contents Talk Box Sounding Board Punch In Brian Wilson Guitar Trax Bass Management Key Issues Drum Heads Vocal Cords Mix Bus Cheat Sheet Sony Acid 6 Abelton Live 7 Controller World New Controllers Analysis Room with a Vu

EQ Magazine - November 2008

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