Mixing EQ Frequencies

[Topaz Bon]

Hi,

 

I'm using Cubase as my DAW and find mixing a task that is never quite complete and certainly difficult. One of the problems is clarity and a muddy mix, and by accident I came across the 200HZ while mixing. Later, I was searching for mixing tips and came across this.

 

https://www.audio-issues.com/music-mixing/eq-viruses/

 

This has to be one of the best I've seen, and this guy has written a book on mixing also, his name is Björgvin Benediktsson, anyone bought it?

 

He mentions the 200HZ, which kinda confirmed it for me. So I think I've found the magic frequency, 200HZ, a little cut there removes a lot of the "boomy" tones on bass, vocals and anything else that goes down there.

 

Anyone have any comments on this, what do you think?

 

 

[ALOPRODUCTIONZ]

id only heard of the 1khz from that list I will be adding the list into a preset and try them out. whats helps me mixing is having saved presets at certain frequencies.

[ImKeN]

I think its good that we all are trying to master the skill of mixing. Personally, I would make sure there are no competing frequencies in the spectrum. But this can be also avoided by selecting sounds/instruments that occupy different frequencies from the get go, this will make the task of mixing a little more easier to deal with.

 

Also there are dynamic EQ plugins that only react at certain moments, thus not permanently altering the sound of an instrument/vocal: A general dipping of a frequency has its negatives, unless you're totally sure you could do without it.

 

 

[john]

You might find this EQ article a useful starting point:

 

https://www.songstuff.com/recording/article/eq_frequencies/

 

I created that guide 20 years ago! Scary how time flies! As you can see, how you treat such frequencies depends on the problem. So use your ears and a few diagnostic techniques...

[Mahesh]

Ah, the 200/250Hz mud. I know it way too well lmao.

 

John's article is a great list of these buggers to have close to you when you're mixing. It can serve as a reference to zero in on nasty frequencies. A word of caution though, you don't want to remove them frequencies so much that it affects the overall tonality too much. The cuts need to be just enough to get rid of the problem and nothing more. And that's where the ear's judgement comes into play.

 

Ken's right.  Things like side-chaining and parallel compression helps to not necessarily scoop that frequency range all across the track and instead only remove the problematic part.