Allocating EQ : Distribute equalization boosts and cuts across the audible spectrum . For example , if you need to boost the low frequencies on the kick drum , bass guitar , and synth pad , choose different frequencies to boost on each track . This procedure distributes the lows across a broader bandwidth , helping to minimize amplitude accumulation .
pad by 4 dB , you could increase the mix level by up to 13 dB when all three instruments play aggressive full musical parts .
This concept also applies to cutting similar frequencies on multiple cuts . Multiple cuts at the same frequency create a mix that is unpredictable within an acoustical space . The hole in the broadband spectrum caused by multiple cuts at the same frequency could result in a mix that sounds fine at a particular location in the room but completely unacceptable at others .
ALLOCATING EQ ACROSS THE AUDIBLE SPECTRUM It ’ s the mix engineer ’ s job to build a mix that is strong , full , and balanced . Rather than boosting the same frequency on several tracks , allocate varying bands to each instrument . Instead of boosting 100 Hz on the kick , bass , and pad , try boosting different low-frequency bands on each to spread the low-frequency energy across a broader range . This way , there won ’ t be such dramatic impact on the overall mix level , and the mix will sound fuller and better balanced throughout the room .
LEARNING FROM THE RECORDING ENGINEER ’ S BAG OF TRICKS Most acoustical spaces are imperfect — most sound systems are imperfect . Notice , however , that a professionally mixed music project sounds good on most live systems and in most acoustical spaces . The techniques used in the development of a mix for commercial release
lead to a mix that ’ s well balanced from a level and equalization standpoint . An excellent live sound operator uses many of the same techniques as the studio engineer to create a mix that is clean , consistent , and powerful .
A recording engineer has to keep in mind that the mix he or she creates will be heard on anything from an inexpensive portable radio to an esoterically hip and sonically stunning hi-fi audio system . In comparison , the live sound operator must consider acoustical summing and canceling due to imperfect acoustic design . The same mix could sound radically different at a handful of locations in the room . If the sound operator is only basing the mix on what it sounds like at the mix location , and not intellectually reasoning through intelligent mix decisions , a large portion of the audience might needlessly experience a bad and possibly annoying mix .
It is a disadvantage for the sound operator that he or she can ’ t simply trust in the mix as it ’ s heard at the mixer , but unless the venue is acoustically perfect and the sound system is precisely tuned , this non-linear room response is just a fact of life . In a fixed location , it is easier to establish a mix position that is a good representation of the entire venue ; however , any time a system is consistently struck and set up , slight changes in mix positions and speaker angles could create a varied mix perspective . Building a mix that contains an even balance of frequencies provides a mix that sounds better
throughout the room .
Low-mid and low frequencies are the least consistent throughout the acoustical environment . Because low-frequency waveforms are long and contain substantial amplitude , they are the most capable of forming standing waves . Previously , we saw that an acoustical standing wave provides the opportunity for summing ( doubling of amplitude ) and canceling ( extreme decrease in amplitude ). Standing wave patterns interacting between surfaces typically result in continual variation throughout the room dimension ( for example , between the front and back walls ) between summing and canceling . Therefore , while listening to a single low frequency , it is likely that its acoustic level will be dominant at one location and nearly non-existent a few feet away .
It isn ’ t uncommon to mix a live show , and as the sound operator , think highly of the mix — it had full lows and an excellent balance between mids and highs , and so on — just to have a few people walk up afterward and say they couldn ’ t hear the bass guitar at all . Although this might be attributed to people who love bass guitarheavy mixes , it is more likely they were simply sitting in a seat that was acoustically canceling in a low-frequency band . The opposite is also possible , where the bass sounds great at the mixer but some audience members are being blown away by massive lows . A great sound operator moves around the room during