Bearing the above points in mind, the best approach is to
use small amounts of boost, especially when working live.
EQ cut, on the other hand, causes far fewer problems, and
rather than boost a particular sound it is frequently more
rewarding to apply cut in whichever part of the audio
spectrum that appears to be overpowering
. In this application,
the sweep mid control is also very effective.
Using a sweep-mid equaliser
Like the high and low controls, the sweep mid can provide
either cut or boost, but its strength comes from the fact
that it can be ‘tuned’ into the specific part of the audio
spectrum that needs treatment. Like the high and low
controls, it is more forgiving if used to cut rather than to
boost. However, when first tuning in the mid control, it
helps to set it to full boost, so that when the frequency
control is adjusted, the effect is most apparent. This is true
even if the final EQ setting requires cut rather than boost.
Procedure
Below is a simple way of eliminating unwanted sounds:
• Increase sweep-EQ gain.
• Sweep the frequency pot until the aspect of the sound
you wish to modify becomes as pronounced as possible.
This should only take a few seconds.
• The cut/boost control is now changed from its full boost
position to cut. The exact amount of cut required can be
decided by listening to the sound while making
adjustments.
• Even a small amount of cut at the right frequency will
clean up the sound to a surprising degree.
Other sounds may benefit from a little boost, one example
being the electric guitar which often needs a little extra bite
to help it cut through the mix. Again, turn to full boost
and use the frequency control to pick out the area where
the sound needs help. Then it’s a simple matter of turning
the boost down to a more modest level and assessing the
results by ear.
D. Using Effects Units
The Different Types
The problem with mixing ‘dry’ (using no effects) within a
live or recording environment is that the results can often
sound boring and lacking in colour. This is especially the
case as most of us are used to listening to highly polished
CDs at home. These productions are actually achieved by
using effects which electronically produce certain
atmospheres. The different types of effects that can be used
are explained below;
Reverb
Reverberation is the most commonly used studio effect,
and also the most necessary. Western music is invariably
performed indoors where a degree of room reverberation is
part of the sound. Conversely, most pop music is recorded
in a relatively small, dry-sounding studio, so artificial
reverberation has to be added to create a sense of space and
reality. Reverberation is created naturally when a sound is
reflected and re-reflected from the surfaces within a room,
hall or other large structure. See fig. 10.
Delay
Often used to make a sound ‘thicker’ by taking the original
sound, delaying it, then mixing it back with the original
sound. This short delay added to the original sound has the
effect of doubling the signal.
Echo
A popular effect that was used extensively on guitars and
vocals in the 60s and 70s. It is not used on vocals so much
nowadays, but quite effective on guitars and keyboards. A
neat trick is to set the echo delay time so that the repeats
coincide with the tempo of the song.
Chorus & Flanging
Both chorus and flangers are based on a short delay,
combined with pitch modulation to create the effect of two
or more instruments playing the same part. Flanging also
employs feedback and is a much stronger effect. Both these
SECTION 3: Mixing T
e
chniques
13
Caution: when adjusting EQ, there is a danger of
feedback which can cause damage to your speakers.
You may need to reduce your levels to compensate.
FIG. 3.10
REVERB
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