You’ll often hear engineers suggest scooping lots of 300 Hz out of kick drum sounds. The trick is to carve it out enough that nothing sounds thin and still provide space below for bass and kick. The problem is that most instruments and voices have a lot going on in this area. Moving up the frequency range, the low midrange has a strong effect on the space where your bass can fit. Carve out around itĪs you make mix decisions about your bass, the rest of the sounds matter too. Extra energy here can conflict with the low mids. It certainly needs to stand out in the mix, just be careful about boosting too much. Many of the notes have their fundamental frequency in this area. This range usually includes the power and weight of the bass sound itself. My advice is to be gentle and choose only one element to accentuate here. Since it’s the lowest audible range in the mix, many producers like to boost here to make the mix sound deeper and more extended. This range usually includes the low-end body of the bass drum, whether it’s a kick sample or an acoustic kit. Our powerful, AI-driven mastering engine listens to your song and delivers pristine, studio-quality music that’s ready for release. It means you’ll struggle to clearly hear the separation between instruments and gauge how low end much is too much. ![]() This means that even if you have an excellent set of monitor speakers, your room might give you an inaccurate picture of your mix-especially for your low frequencies. ![]() Secondly, bedroom studios can have notoriously poor acoustics if they aren’t set up with acoustic treatment. Of course, the best solution is to capture sounds with this in mind so you don’t end up with too much bass in the first place. ![]() The key is to start with a plan for which instruments will sit in each range and focus on the most important frequencies to bring out these qualities. Mixing music is about clearing up space for each sound to sit, but it can feel uncomfortable to filter lots of low end if you listen to your sounds in solo.īut if you listen in the context of the mix, the truth is you can use a high-pass filter to clear out excessive lows on many elements that don’t need to occupy this range. One of the main mistakes beginner and intermediate mixers make has to do with this issue. Drums, synth patches, acoustic instruments and even vocals contain a spectrum of frequencies with some energy concentrated in the low end.
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