RANGE LOW<\/strong> – This setting adjusts the display on the y axis. -100 works for my mixes, but let your eyes be the judge.<\/p>\n\n\n\nTrack by Track<\/h2>\n\n\n\n Next we check the low frequency content of every track in your mix except the kick and bass, and in most cases, insert a low cut (aka highpass) filter somewhere between 100-300 Hz.<\/p>\n\n\n\n
Use your ears to set the frequency of the cutoff while the track you\u2019re adjusting plays with the bass and kick. A 24 dB\/octave filter is usually adequate, but if you’re seeing mountains instead of molehills, you might need to bump it up to 48 dB\/octave. It\u2019s okay if it sounds thin by itself, as long as it plays nice with the bass and kick. A good rule of thumb is:<\/p>\n\n\n\n
Raise the frequency until the tone changes in an undesirable way<\/strong><\/em><\/p>\n\n\n\nI usually roll off my vocals around 250 Hz, but sometimes I\u2019ll roll off pads or guitars as high as 300 Hz. For meaty snares, I might go as low as 80 Hz. You don\u2019t want to clutter the bass, but you don\u2019t want to leave a hole either.<\/p>\n\n\n\n
<\/figure><\/div>\n\n\n\nKick & Bass<\/h2>\n\n\n\n Does that mean that we leave the kick and bass alone? Typically, no.<\/p>\n\n\n\n
We need to balance the sub bass with the rest of the mix, to get a deep full tone from the bass and a healthy \u201cchest thump\u201d from the kick without blowing out any speakers. Excess energy below 50 Hz also limits our potential for squeezing volume out of the mix in the mastering stage.<\/p>\n\n\n\n
We could always just low cut the entire mix, but that\u2019s ugly and imprecise. Even if we nail the frequency and slope of the filter, the EQ will add undesireable phase coloration and\/or pre-ringing. It’s better to sculpt the low end on a track-by-track basis, balancing out the sub bass and shaping competing elements to reveal a powerful foundation for your mix.<\/p>\n\n\n\n
Most mix engineers can’t even hear the bottom octave (20-40 Hz) because their monitors can\u2019t produce it. Unless your room is 300 square feet or larger, and professionally tuned, adding a subwoofer will probably do more harm than good. We can\u2019t always hear what\u2019s down there, but with a frequency analyzer, we can see it.<\/p>\n\n\n\n
I usually roll off the kick and bass anywhere from 20-50 Hz, sometimes not at all. Try loading in a few reference tracks, matching their volumes to your mix, and comparing. It’s all relative.<\/p>\n\n\n\n
<\/figure><\/div>\n\n\n\nEffect Returns<\/h2>\n\n\n\n If you’ve ever set up a surround system, you know that you can put the subwoofer pretty much anywhere. Since bass is omnidirectional, we don’t perceive it as coming from one particular spot.<\/p>\n\n\n\n
For that reason, it doesn’t make sense to spread the low frequencies of your mix across the stereo spectrum. It weakens your imaging and makes the mix sound narrow. Worse, if you’re cutting vinyl, it can make the needle jump out of the groove.<\/p>\n\n\n\n
So as much as possible, we want the lows to be in mono. If you’ve got the kick and bass panned anywhere other than dead center, no lollipop for you!<\/p>\n\n\n\n
To this end, cutting the lows from the effect returns makes a remarkable difference. I insert a low cut before the reverb\/delay, typically at 250 Hz with a gentle slope to emphasize the high mids and highs. Higher frequencies are more directional, so highlighting that range in the effect returns makes for yummy headphone candy.<\/p>\n\n\n\n