Guitars & Comparing EQs
Now there is one plug in missing sorry phoenix uh dark essence it uh brings out the low meds kind of uh really nice way and I just don't have any more not on this that was a tdm unplugging so that's slightly incomplete picture of the guitars but I want to at least talk aboutthe low end because that's uh it's a tough thing here and uh you see what might beat you by passes are on second so I see it there's just any like interesting like uh automation is that did t q ok no all right all right so first of all low and wise what is that ninety upton is that ninety I can't even see and I think it is so yeah I've got them I've got them filtered up pretty high and uh and that's on purpose because the low end on the kick and the base is so powerful that that you just cannot have the guitar interfering with that sometimes I'll do it a little lower and guitar sometimes will be like at sixty five or something or seventy five or whatever but this's tuned to f so there's so much low information is an...
d so much just like potential for mud and I feel like the base in the kick or just so like enhancing that way that I just wanted the guitar is completely out of that space um and uh I know some other guys who do the same sort of thing now, however, even though I cut them at around ninety seven I did but I even cut them a little more around one hundred there let me take this cq awful let's see what happens that's a little scratchy but that's intentional we wanted it to sound nasty but at least it's not tubby it's not tubby and it's not just like I wouldn't say paper he but it's not just a tubby nondescript guitar let me show you guys what this sounds like without uh, that high end boost and the low end removed so math that does sit right like I think that the natural the tone without any q already sits right and that's why I reacted so many times like uh it could have gotten away with that but has no aggression to it at all so, uh, stuff had to be done to it. Um now you see even right here I'm taming taming the lome ids right here. Uh I've got two hundred dipped and, uh, right here what the hell's you and going like, yeah, I've got some high mids raised uh I just felt like and I'm not big on raising high end on guitars don't do it very often, but I just felt like something about them was was just not not jumping through enough it was just not giving it that feeling I felt like the low end was like so like exaggerated powerful that we needed something equally as, uh as aggressive in the mids and the high meds and so that's why I made these choices tio kind of can I get the's boosts the's boosts happening here now and just boost stuff across the board it did a boost of four and then eh boost at uh at six actually is a boost of fourteen um a boost of fourteen now we're talking about balancing the vocals real quick uh I did cut one point five some and I did cut eight a little now that's that was done so that I could fit the base and the vocal lt's in there as well. So um one thing that you guys might want to try sometimes is I know that I know that you put a low pass everybody puts a low pass on heavy guitars right? Uh except for maybe a curt blew like everybody low passes guitars between somewhere between twelve and sometimes all the way down to eight this is at nine point eight but I have noticed and this is something for you guys to try even after you do that go super high to like fourteen and boost the hell out of it see what happens might get something interesting happened? I'll show you I'll show you that right now so this is without the boost of fourteen because I already have the low past there the fizz is already being kind of like brought down but by then adding this super high just a little bit of a bump it's giving it a little bit of that that sheen in that attack and that's you know that's out of the way of just about everything else not in the way of any other like really prominent part of the mix so another thing that's super important with guitars is to find problem frequencies and just not them the hell out so you can see for some reason eighteen I was bugging bugging me so I'm gonna mute this week you and see what happens you know without it's just a little bit tub here and just a little bit just uglier but that part of what helps about that cut also and also this one at one point four not only does that take away a little bit the nastiness and the guitar uh this further emphasizes the other mid cuts that I did with the other e q which were more of a broad q so they could say took one point five down with a broad q on that's itself this right here on the massenburg really zeros in on it too exactly where I thought that the vocals were peeking through so you kind of you kind of take a two pronged approach you kind of get the general the general frequencies that the vocals and have it out of the way with the guitars and then you pick the one area that it's like the vocals or the strongest in and you notch that so that makes sense the two pronged approach tio getting stuff out of the way and the reason to do that is because of if you say say you want to just remove like between one and two k or something to make a lot of room for the vocals you just bring that down you're going to kill the guitars completely because the guitars also need some of that in there to be able to be heard because that's where you hear notes on the guitars so you go for abroad abroad q did um and you know just kind of get it get the area from being so dominant because you want it done in the vocals and then you do a very sharp are their narrow and extreme cut in exactly where the the vocal or whatever instruments competing with would be the strongest and also this eight hundred range is where you hear a lot of the high end of the base frequently so there's multiple reasons for these cuts and uh that's part of what makes it work together we're almost a break time so I'd like to take maybe another question or two everybody I want from mason on applying distortion to the bass guitar where frequency do you find the distortion really starts to get flood be at? Do you simply only allowed distortion of frequencies above the cutoff reply lighter distortion? Um, it really just depends uh, on what you're going for in general, ok, back to eighty five percent rule thing in general do not distort the subs and the very low end of the base gets weird, especially if things are a little bit tooni or like we're told us, a weird noises take place or whatever you're just going to get end up with a flood, the mess, but on this one, because it was supposed to be kind of nasty and we kind of wanted to be a little bit like corn, like the band korn, it kind of didn't want it to have that christine, that foreseen bottom, so I've just distorted the whole thing it's fine, but also the playing is fine to playing a super tight and, uh, and that was part of it to s o great playing and being in tune will lead to where you can get away with not having a program. The sub uh, once again, I'll just show you as real quick, you listen to the kick and the base together and just doesn't know how tight this this these performances are and how in tune they are that's a big part of what influences how you're going to go about doing this elastic audio or anything like that. So a lot of base tracks that I have to work with when it mixes come in are not close to this type, and most place players are not close to this type. And so a lot of those things, all of these tricks that we talk about of programming, the low end and all that stuff is because bass players suck, but if you get a great bass player, you can cut you can I don't need to do all that there. I mean, obviously there's cuts here because there's, puncheon's and obviously, like, you know, just because I made some of the same the same cuts is in the guitar so that the stops that's just a stylistic thing. That's not that has nothing to do with the players sucking, but as you could hear, players titus hell playing hard and in tune, and then, yeah, you don't have to resort to those alternate means and methods, so but yeah, in general, I would not distort the very, very low end, especially if you're dealing with a jump.
Mastery of compression, EQ, reverb, and effects is essential for every mixer no matter the genre. In GearGods Presents: Mastering Metal Mixing: Fundamentals, Eyal Levi of Audiohammer Studios will show you how to apply those fundamentals to metal’s unique challenges.
In this class Eyal will show how you can use EQ in Pro Tools to carve out space for every element in the mix. You’ll learn how to mix all the typical elements of a metal song: vocals, bass, guitar, drums, synths and effects. He’ll also teach you how to use bussing, compression, and effects to help drums, vocals, and guitars cut through the track without overpowering it.
Tune in to Mastering Metal Mixing: Fundamentals and learn how to fit everything into a metal mix.