bwrecordings;6835268]How do you do that in the cymbals and gtrs. Where they seem just enormous but the 3-5k range isn't killing you but is def. There.
You are spot on with this observation. For some reason I am particularly sensitive to the 2K - 5K range. I just like it when I can turn up a mix really loud and not have it be abusive. That frequency range seems to be the area that makes things harsh. Maintaining the detail is an issue of moving energy from one part of the frequency range to another. Instead of just turning down the 2K-5K range, I always try to compliment it with an equal portion of higher stuff (7K and up). To my ears it just sounds like the top end is opening up and doesn't feel as restricted and harsh.
Sometimes I find the offending frequency is very specific with guitars, bass, cymbals and room mics. I used to use this crazy Orban 672A equalizer to do those kind of adjustments because i could get very narrow. I only had a few of them and typically there wasn't enough to go around. Now the UTA console EQ gets very narrow (a Q of 10) and even tighter in the notch mode so I don't have to reach for an outboard device to do it anymore. Sometimes cymbals and guitars will just have one of those obnoxious ringy overtones in the high mid range that just makes it very difficult to get it to blend with all the other stuff. I just tuck it in with a very narrow peak EQ. There is another move you can do where you cut a lot (7 or 8 db) at the offending frequency with a very narrow Q and then boost a little (2 or 3 db) at that same frequency with a very wide Q so the sound doesn't get to soft. That is the pitfall of pulling out a lot of 2K-5K. Your mix can start to sound too soft. In hindsight I would say some of my mixes over the years have fallen victim to that.
Any tips for the vocal and bass sounds?
with vocals I would recommend to everyone to own an SM7
. It is an affordable mic and I would say it wins the shoot out at least 50% of the time over mics that are at least 10x the price. I typically run it with the lowpass filter engaged. With Adam I added the presence peak, Johns voice didn't need that. I have a particular vintage blackface 1176 "D" that is my favorite vocal compressor for rock music. On this project I was typically also running a tube compressor in series with the 1176. Either a modified Gates Sta-Level or the custom Fairchild remake UTA is building. The vocal chain was SM7-Neve 1081-1176-tube compressor-pro tools. I typically don't EQ vocals when tracking.
With Bass I like to run 2 amps. One that is set a little cleaner and one that is dirtier. In this case it was an Ampeg SVT
for the more basic solid bass sound and either an orange or an Oldfield guitar amp for the dirtier sound. In the verses I can lean more on the cleaner sound and then turn up the thicker dirtier sound in the choruses. It is important to get the 2 amp signals in phase or it can sound kind of dull when blended. When tracking in the computer I just use time adjuster to get them in phase. I typically like to mic the SVT
cab pretty far back (about 25 to 30 inches) and the dirtier amp is mic'd closer. So I am typically delaying the dirtier amp to be in phase with the cleaner amp. When tracking I don't compress to aggressively with bass. I have found that too much of the wrong kind of compression can really ruin a bass sound. I use something smoother while tracking in this case the UTA Fairchild re-issue and then stomp on it a little harder in the mix with either an Alan Smart C2 or a GML 8900
. In the mix I will EQ the bass mostly to make it as even as possible. i usually watch the meters to make sure there aren't any notes that are really sticking out. As much effort as I have put into my main monitors, It is impossible for them to be perfectly flat - especially in the low end. I have been tricked in he past trying to EQ the bass for something that is only an issue in my room. Just watch the meters!!
This project was really a guinea pig for the UTA EQ and the UTA Fairchild. I literally used them as much as possible throughout the project. I am just really excited about them and really want to put them through their paces. the sound of this record is probably mostly defined by those 2 boxes. I used the UTA EQ on everything and in this post you can see that I was using the Fairchild on Bass and Vocals. I also used the fairchild on drums a lot and on guitars at times.