So let's talk about sound processing again. This time I will explain how EQ on mixer works.
So how 3 band eq actually works in reality?
The low and high on this EQ usually just give the boost in the frequency range, while mid cuts that frequency or ads frequency to the boosted frequency.
In other words , low and high are volume boosters, while mid is harmony booster.
So if you for example have bass on 3 a clock, high on 4 a clock your mid must be on 8 a clock to get clean dynamic boost in volume. To get harmonic boost you must lower bass or high while boosting the mids.
The main reason why all this is true nature of this EQ is that this EQ doesn't have actuall noon settings. So you are actually aiming smooth middle dynamic range. This seems poor in it's description but Mid bass and mid guitar are not the same sounds at all.
When I finish all the essentially important stuff in a sequencer I usually mute everything except the input that I am working on. I edit them step by step, one by one, trying to find most beautiful frequency range. Later I play with mixer volume knobs to enhance all that. In some cases you will need to use a limiter to boost or lower the volume or even parametric EQ.
Parametric EQ is very important in smothening the frequency spectrum over all parameters.
It's a ultimate tool in splitting the one sound from another, and you can not survive sampling without it.
What you actually do is that that you boost the gain on max, then you start searching for frequency that is the most distorted or to harsh and then you simply lower it to the bottom.
There are a lot video showing what you can do with it so I will not explain details.
Kick and bass
There is a lot of theory around, but kick and bass have to much of that.
So in this thread I will add some important facts about kick and bass dyinamics and tuning.
Kick and bass are hard to tune in stereo so tuning of kick and bass starts from mono. This is true. Kick and bass are actually better in mono. In mono we get a better filling about loudness of low and frequencies, and that's important role in our mix.
It's not important from wich part you start
This is very wrong theory.
The best way is that you start from your bass.
This way you will easier get the right sound for your whole drum kit. So bass sampling at first place is extremely important.
Sidechaning between kick and bass can resolve a lot problems. Well, not exactly. You see, in some types of music you don't want to resolve a bass/kick problem created by detailed and attractive effort using sidechaning and eq., so this is not useful always.
Actually the best way to use compressor is to add kick and bass in a same mashine for example a PCM synth, or sending them in to modular and lowering them in their mixer inputs, leaving them only in a modular mashine.
But easier way is to use the decay boosting.
You start by lowering the envelope on both of them.
Decay sustain and release must be on zero. You add a little bit of decay to a kick, and you add a little more to a bass. You tune them both until you find a sweet spot. After that you can, if you want, add a same amount of release - sustain , to both of them to get nice space for a noize floor.
Have a nice November