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Old 7th August 2020
  #14
Quote:
Originally Posted by alibeats1 View Post
Hi John! The EP sounds incredible! I’m blown away by how much clarity each element has yet still gluing to the song.

I’m fairly new to mixing and have read so much conflicting information on using EQ. What does your EQ approach/philosophy look like? Specifically, I struggle with knowing when to be surgical or tonal.

Quick example: I often find myself cutting 2.5khz of female vocals only to lose them in the mix...or remove upper-mids of a synth bass (so it doesn’t mask the vocal) only for it to become dull and boomy.

I would love your thoughts on range allocation/when to reach for an eq; seeing how this EP sounds sonically perfect. Thank you!
I tend to not use a lot of "tricks" on the instruments trying to create room or frequency range for vocals to sit in. I do mix almost always with the vocals on, so I'm not creating an instrumental mix and then trying to fit the vocals into it. I'll more often create a good vocal sound and then fit the music to that.

I spend a lot of time listening at various volumes from very soft to loud to make sure the vocals are sitting right. At low volume, I want to be able to hear the words. Is it understandable. At loud volume, I want to not have the vocal be harsh.

I'm doing a bunch of compression and EQ on the vocals. Level it down a bit with a compressor, then boost the high mid to get intelligibility, boost the high to get airiness, then compression again to smooth, and finally a strong but finely tuned de-esser.

Different parts of the vocals might get different treatments on compression, EQ, etc, to overcome or complement instrumentation changes from verse to hook to bridge.

Particularly difficult parts might get some multi band compression in that 2.5kHz range that you identified.

So it is a broad palate of tonal and surgical to achieve a pleasing vocal, but mostly mixing overall with a vocal priority.