![]() ![]() ![]() As you add compression, this effect can become enhanced because the signal magnitudes are getting closer together. One EQ might sound great on a solo'd track, but sound like dog in the mix, while another EQ would have the opposite effect. This is why it's BAD to EQ tracks while solo'd in isolation. Of course, different EQ's, even set up with the same settings can result in varying differences in how the phase is affected. If I bus the two signals together and EQ that instead of each track, then the phase is still shifted, but it's uniform for both signals.ĭepending on the specific content of the tracks, this is more or less subtle. If the settings are radical enough, this can be as much as 90 or 180 degrees at some frequencies. So, for example, if I EQ a snare and hat individually, with different settings, the phase relationship of the snare and hat is going to change. Note that EQ doesn't only change the magnitude of the signal, it also changes the phase of the signal in a way that is not linear in respect to frequency. But to be successful doing it like this you really need to have quite a bit of experience and to screw it up a few times first.Ĭlick to expand.It's not an advantage/disadvantage issue. then go ahead.īut in actually reversing the process you save yourself a lot of work, time and DSP. If EQing your groups just isn't enough and you need to process individual channels to get what you want. Drum busses can also benefit a great deal from some overall EQ and that will lessen the need for EQ on individual channels also. Then ill add the EQ to the buss and use my preset starting point then start to boost but i always sweep between the 300-500 to cut that mud out, most of time i can clear up a lot of frequency troubles in that region. Group them to a bus and highpass and EQ them all together instead. I usually mix with just pan and fader as good as i can, maybe some individual compression on tracks also. Problem is, you have 16 channels of backing vocals. Say that you have some backing vocals that you need to highpass and despite the high-end boost at the mixbus, you need to add some more at a different frequency. Well, why not strap an EQ to your mix bus and add 4db of high-end to the whole mix before starting, and if something becomes too bright, then just cut some high-end on that specific element instead? This can sound better since you don't get as much phase shift in a mix, if that's not what you like to get that is. Say that you as a mixer find that 9 times out of ten you need to add high-end to all elements in a mix. but it's actually a very sane way to go about it if you give it some thought, and engineers have done it a looooong time. Well, of course you don't need to do that as if someone had a gun to your head.
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