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Frequency Slotting – Giving Each Instrument Its Own Special Place in the Mix
In the process of shooting, there is probably something that tends to be very monotonous. That is the mastery of a song. You will have to listen to the same song over and over again until you are satisfied with the mix. Then you listen to a copy of it on your car stereo while you are driving on the road and hear the imperfections or undesirable qualities that you missed listening to on 150 other occasions. You listened to it.
It always looks like you think you finally ended up with a mix of specific songs. You find some other bugs with the mix and feel the need to go back to the painting, or more accurately in this case the palette. So it has become clear that mixing a song may take longer than recording a real song . However, there is something you can do to not only speed up the blending process, but also help you end up with a better product. That would be the use of a frequency socket.
Frequency setting is when you assign a specific frequency range to each device. You do this to make it easier for one device to be distinguished from the other. If all devices are on the same frequency range or slot, the mixing will sound like mud or clutter. Some songs may not be completely separate from others.
Suppose you have 5 songs. You have guitar, bass, drums, guitars, lead guitar and keyboard tracks. Here’s how you can assign a frequency band to each device:
Bass guitar can increase the bass or use a lower level filter. Does it make perfect sense to set the guitar bass frequency? That is simple enough. So let’s move on to the rhythm guitar. Set the guitar rhythm to a medium frequency. We can then set the high frequency tracking keyboard. We now have three of the five devices that cover little potential for them to cut into each other’s frequency bands. We only have two devices left. Lead guitar and drums.
Obviously, the more devices you have, the harder it is to keep them from cutting into each other’s frequencies. But it can still reduce it. We can do this with a lead guitar track by giving it a line between the rhythm guitar and the keyboard. So it will basically occupy some of the mid-range frequencies and some of the higher frequencies.
Now we have the drums. Drums can be a bit tricky because you have a few pieces that are spread across the spectrum. For starters, your bass drum (or bass drum if it is a double bass) will have more bass than any other piece. You may also have some graves that are spread across the spectrum. Your floor will definitely have more bass than small batteries. You also have traps and ching, with ching at the high end of the spectrum.
I like to set the chip to an actual high frequency and add a touch of reverb to add to its sustainability. Traps are usually made to taste. It can be a medium range or somewhere between medium and high. Graves are considered individually to scatter them across the spectrum. The bass drum is self-explanatory.
You may not currently have enough tracks available to give each drum its own set of tracks for No mix. If that is the case then at least you should split it into two whenever possible. I do this many times by myself. I will bring a drum to be placed between the middle row and the ching will be at the high end. It’s simpler, but it works mostly fine.
If possible, or if you have enough available tracks, you can set each section of the drum to define a different area from left to right. That will simulate a real drum playing in front of you. The bass drum can be in the middle, like a floor trap, tilted slightly to the left, and the drum hit slightly to the right while riding slightly to the left. You can even try some of its variations.
Here are some ideas you can get started. You do not have to use the same form I just suggested. I also do not do it myself. The format can be determined by the song itself. It is better to treat each song individually. This will make it easier for one song to distinguish from another. Also, not all songs use the same instrument or the same number of instruments.
So in closing: take all these things into consideration and try to use the frequency hole. You can even impress yourself with the final product. Of course, after you give each track its special place in the spectrum, you have your entire EQ to deal with. But usually it is intended for fine tuning. Give it a try and good luck.
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