Different Frequencies???

Krispy

Krispy

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I've noticed alot of people talk on here about different types of sounds and instruments having different frequency range requirements... For example people talk about how sub bass and basslines should be within a certain range and how snares should be a certain type of frequency and so on and so on...

Can someone please explain to me what this means, why they are different, and how I can adjust the frequencies of the different elements of my own tracks to make the sound "proper". Is it a filtering technique or equalizer that is used to accomplish proper frequency?

Before getting as involved in production as I am now, I just assumed that things were already the proper frequency Hz level. But the more I read on these forums, the more I learn about how wrong I am hahaha...
 
essentially everything you use is 'in it's proper frequency' and that's where the problem lies. because when one you have 2 or more parts occupying (roughly) the same frequency range, it tends to 'muddy' up the mixes and cause problems - as there is no real clarity between parts and everything is fighting for space.

the major example is the kick and your sub bass.

you need real definition between this because if one is detracting from the other - potentially your sub could be drowning out your kick / or you kick could be causing your sub bass to sound weak every time it hits, etc.

it's a very rough basic explanation, but i might make things a bit clearer in your head.

and you're generally use eqing to extenuate or cut certain frequencies in a sound to mold multiple parts together/gain clarity between then.
 
riisu said:
essentially everything you use is 'in it's proper frequency' and that's where the problem lies. because when one you have 2 or more parts occupying (roughly) the same frequency range, it tends to 'muddy' up the mixes and cause problems - as there is no real clarity between parts and everything is fighting for space.

the major example is the kick and your sub bass.

you need real definition between this because if one is detracting from the other - potentially your sub could be drowning out your kick / or you kick could be causing your sub bass to sound weak every time it hits, etc.

it's a very rough basic explanation, but i might make things a bit clearer in your head.

and you're generally use eqing to extenuate or cut certain frequencies in a sound to mold multiple parts together/gain clarity between then.
Click to expand...

pretty much that... it's about filling the 'dynamic space' of the sound, but there are other tricks to help similarly placed instruments sit together too.
 
CH3SH said:
Spectral analysis all the way =D
Click to expand...

Good tools, but when your getting more into it you should use them less and less, your ears should be telling you whats wrong, not your eyes.

As has already been said, every instruments sound will contain a certain amount of frequencies, these will always be the same, its just how you boost/cut them that makes the difference.
 
motion audio said:
Good tools, but when your getting more into it you should use them less and less, your ears should be telling you whats wrong, not your eyes.

As has already been said, every instruments sound will contain a certain amount of frequencies, these will always be the same, its just how you boost/cut them that makes the difference.
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sound ^
 
motion audio said:
Good tools, but when your getting more into it you should use them less and less, your ears should be telling you whats wrong, not your eyes.

As has already been said, every instruments sound will contain a certain amount of frequencies, these will always be the same, its just how you boost/cut them that makes the difference.
Click to expand...

This is all too true i agree,
But your ears cant hear as much as youd really want too,
Depends on what frequencies you want to promote what impact =]
 
CH3SH said:
This is all too true i agree,
But your ears cant hear as much as youd really want too,
Depends on what frequencies you want to promote what impact =]
Click to expand...

The way I see it, is that anything below around 30-20hz you filter out of everything, no use in headroom being taken up by inaudiable frequencies, and anything above 20khz, again filter out, that way theres nothing left in your frequency range that you cant hear. Everthing else you can hear so I dont get what you mean there?

My point is that you shouldnt get something sounding nice, put an analyzer on it and think "hmmmm, according to my frequency chart this needs more 7.5khz..."

Thats not a dig at you, I just dont really understand what you mean?
 
riisu said:
essentially everything you use is 'in it's proper frequency' and that's where the problem lies. because when one you have 2 or more parts occupying (roughly) the same frequency range, it tends to 'muddy' up the mixes and cause problems - as there is no real clarity between parts and everything is fighting for space.

the major example is the kick and your sub bass.

you need real definition between this because if one is detracting from the other - potentially your sub could be drowning out your kick / or you kick could be causing your sub bass to sound weak every time it hits, etc.

it's a very rough basic explanation, but i might make things a bit clearer in your head.

and you're generally use eqing to extenuate or cut certain frequencies in a sound to mold multiple parts together/gain clarity between then.
Click to expand...

Good post man, all makes perfect sense!

I heard side chaining can be used to a certain extent when things hit together that you don't want them to, is that right?
 
kinda.
side chaining basically means you use 'one instrument' to 'effect another' in a certain sense of the word.

a lot of dnb producers sidechain the kick drum with the bassline.
so when the kick hits, it ducks the bassline very briefly so that the kick just punches through the mix a bit more and i guess eradicates any phase issues.

although there's a lot more ways to get creative using various sidechaining techniques.
 
sidechaining is used more in that generic 140bpm dance music to get a woomph affect to the bass... essentialy the idea is that one instrument triggers a compressor (or gate and stuff) on another instrument ie the bass line is cut in volume by the compressor being triggered by the kick... this is about the only aplication for dnb for mixing down.

http://www.youtube.com/watch?v=1Tv7gAi2OKY
 
riisu said:
kinda.
side chaining basically means you use 'one instrument' to 'effect another' in a certain sense of the word.

a lot of dnb producers sidechain the kick drum with the bassline.
so when the kick hits, it ducks the bassline very briefly so that the kick just punches through the mix a bit more and i guess eradicates any phase issues.

although there's a lot more ways to get creative using various sidechaining techniques.
Click to expand...

Ahh yeah I get ya, will remember to do that when I get a decent bassline sorted ;) Cheers!
 
riisu said:
kinda.
side chaining basically means you use 'one instrument' to 'effect another' in a certain sense of the word.

a lot of dnb producers sidechain the kick drum with the bassline.
so when the kick hits, it ducks the bassline very briefly so that the kick just punches through the mix a bit more and i guess eradicates any phase issues.

although there's a lot more ways to get creative using various sidechaining techniques.
Click to expand...

damn... beat me to it! this is pretty much spot on, what you (russla) are thinking about is sidechain compression as as Riisu said, sidechaining is triggering and effect on instrument with another instrument!

@ Riisu, are you like me in that you know all the theory pretty much, but still struggle to get the polished sound?
 
Russla-DJ said:
Ahh yeah I get ya, will remember to do that when I get a decent bassline sorted ;) Cheers!
Click to expand...

logic is pretty handy and it has a sidechain option in (i think) almost every fx insert and instrument that comes with it (y)

you get some real funky shit going with the es2 and sidechaning the certain parameters (cutoff via lfo2 for eg [and then automating these]) to a bused (and muted) drum track...

i'll leave you with that thought ;)
 
richie_stix said:
damn... beat me to it! this is pretty much spot on, what you (russla) are thinking about is sidechain compression as as Riisu said, sidechaining is triggering and effect on instrument with another instrument!

@ Riisu, are you like me in that you know all the theory pretty much, but still struggle to get the polished sound?
Click to expand...

kinda man. don't think i'll ever be 100% with anything i'll do it. just having trouble developing tracks at the moment. i'd say my theory and understanding is decent, just need a bit more direction and focus.
 
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