It also guides you through the relationships - some simple, some complex - that exist between the dimensions of sound and the dimensions of space. So much good stuff - from mindbending advanced techniques to solid sensible advice, this guide should have a positive effect on just about anybody interested in mixing and especially those using REAPER!
The additional EQ that is required might be best placed further down the FX chain. By doing this, you can create an audit trail of your work as you go along. Take a look at the example shown on the right. How much more useful is it to view a chain such as that shown above right than just a list of plug-in names?
Happily, it has only a small number of parameters, at least compared with other types of plug-in. Delete Band Deleted the currently selected band. Enabled This is a toggle that enables or disables the currently selected band.
Useful when you are testing the effect of your settings. Frequency Determines the frequency at which the Gain and Bandwidth settings for the currently selected band will be applied.
Bandwidth Determines the number of octaves across which the gain will be applied. The normal range is between 0 and 4. Band Type Determines the type of band. The options are explained below. High Pass Allows only frequencies above that specified to pass through the filter and be heard. Low Shelf Similar to a High Pass filter but more gradual in its effect. Band Determines the central frequency at which the gain or reduction is applied.
The bandwidth setting determines the range that will be affected. Bandpass Allows only that range of frequencies centred on the frequency to pass through the filter and be heard.
Can be useful when sweeping a track seeking to identify problem frequencies or key frequencies. Allows only frequencies below the specified frequency to be heard. Show Phase Enables you to check the phase shift implications of your EQ settings. Let your ears be your best judge!
Gain The gain fader can be used to adjust the overall signall level increase or decrease after the effects of your EQ settings have been applied. This is such a common issue that it becomes a bit of a grey area, but it makes sense to address it before we move on to the next section. As a rule it pays to be wary of any suggestions to always EQ an instrument in this way or that way. Nevertheless, listen carefully to your instruments and see whether the following suggestions make sense.
Notice, by the way, how much of the subtractive EQing in these tables takes place within part that frequency range that we will later be describing as The War Zone. This should be placed after any Corrective EQ plug-in. You should normally also use this second instance of your EQ for any further EQ that you may wish to apply to the track at a later stage in the mixing process. It is most easily tamed with the use of a de-esser. Third party de-esser plug-ins can be purchased, or you can make your own, using an Analyser, EQ and a Multiband Compressor.
Any Spectral Analysis tool including those mentioned earlier in this primer can be used to help identify the approximate region where the offending frequency can be found. For male vocals, this is likely to be somewhere in the range 4, to 5, Hz, for female vocals 6, to 7, Hz. Once this has been identified, a technique known as sweeping can help you to home in on the exact frequency.
This requires you to create a notch filter. As you do so, carefully and slowly drag the frequency slider right or left until you identify the spot at which the sibilance is the worst. You should notice some improvement in the sibilance. Unfortunately, in solving one problem we have most probably created another. This is because as things stand, our notch filter will be applied all the time, even where there is no sibilance.
This could seriously affect the vocal track, for example by adding something of a lisp to otherwise clean sounds. You might think of using an envelope to enable and disable this filter as required, but this would be a lot of work.
A better solution would be to apply what you have learnt to a multiband compressor. We can therefore now bypass our EQ or disable the notch filter band and insert into our FX chain a multiband compressor such as ReaXComp. This plug-in could have been tailor made for de-essing! Notice the settings shown on the right. This is quite narrow, but wide enough to capture the sibilance. This ensures that the compressor, when required, will kick in quickly and just as quickly kick out again.
Remember that once you have experimented with your settings and created those that suit your particular needs, you can save them as a preset. You will then have a de-esser that you can apply to other projects as well as the current one. When you zoom in closely on a recorded audio item, it is usually quite easy to visually identify a plosive, from its jagged waveform pattern.
Further explanation with step by step examples follow …. Sometimes an accelerated fadeout will help, sometimes splitting and trimming can help, but very often the best solution here will be to use Spectro. In the example shown on the right, you can see a sudden spike in the spectral pattern where a musician has accidentally created a clicking sound immediately after the end of the tune.
This could be caused, for example, by accidentally catching a finger on the instrument as he removes it from the string. In this example, Spectro has been used to isolate and mute the offending noise.
Example This first example will illustrate the use of Spectro to eliminate unwanted background sounds. Select the Vox or Vocal track. Set the Volume fader to Zero and the Pan fader to Centre.
Solo the Vox track. Set the option to Follow host cursor to Y. Position the play cursor at the time You may need to zoom in to get to this exact position. Play the song. You will hear the singer drawing breath at about This breath will be visible on the Spectro graph. Select the M for Mute button for that region. Play the song again. The breath can no longer be heard. Save the file. This second example will use a different approach to a similar problem.
Position your play cursor at Select and solo the Vox track. Play it. You will notice a sound at about , just before the vocal comes back in. Make sure that Snapping is disabled.
Select the media item, then click and drag your mouse to select that part of the track which contains the sound see right. Right click over the area and choose Split item at time selection. Right click over the selected item and choose Item Settings, Mute. If you wish, use your mouse to draw a fade in and out from this section, as shown in the illustration below right.
This will bind them together as one. The reasons for this are all about space. Mixing requires that every part in the production — every part — has to be given its own space. Arguably, many amateur and alas some professional mixes are spoilt by a failure to give adequate attention to the issues of space than by anything else.
The first mistake that some indeed, too many make is to think of space in a mix as consisting of width alone, and that this is simply determined by panning. But width alone is not enough to create a true sense of space in your mix. There are in all not one but four dimensions, all of them important. Most commonly, the left-right placement issues are controlled by Panning. Height frequency The frequency range of instruments and their harmonics spans a range of approx 20 Hz to 16, Hz and above.
This determines another spatial dimension of our mix, which we can think of as being height. The role and importance this dimension can play in adding colour to your mix is too often overlooked. This is the aspect of mixing that people are often talking about when they refer to acoustic space.
Depth As your music plays back through the speakers, some voices and instruments will appear to be closer to you than others. If you like, you can think of this illusion of depth as being conceptually similar to the illusion of depth that will be created by a landscape painter. Time Like height, time a dimension to which sufficient attention is often not given.
Your mix should not resemble a static snapshot, but should behave dynamically through time. As you begin to understand that sound operates across these four dimensions, you will grow to appreciate why each of these is important, and why the manner of combination of these different dimensions matters. Sometimes equally gifted people will approach the same task with completely different systems and methodology.
The best approach is that which works for you. Some sound engineers insist that you should always mix only with your ears, and ignore all other sensory input.
Some people like to sketch out a virtual sound stage before they begin their mixing. It gives them a starting point when it comes to positioning the different instruments in the mix. Others see no point in it but prefer to simply play it by ear. Try sketching out an overhead view of the stage layout that you are aiming to create with your mix.
A couple of examples are shown below: Consider the two illustrations below. The first is for a song that features a lead vocalist, two backing vocalists, a rhythm guitar, banjo, acoustic bass and drum kit.
We might have it in mind to create a sound stage like that shown below as viewed from above , where front of stage is at the bottom of the diagram. Suppose this song includes a break in which we wish to feature the banjo. This leaves us with what might be a rather thin mix. We might decide that whilst bringing the banjo right up front and centre stage, we might also wish to not only push the rhythm guitar further back, but also somehow to spread it out so that it appears to fill most of the space behind the featured instrument.
During this chapter of this book, you will be shown how to create effects like this. The basic idea is that by splitting a track into several channels and applying different FX to each channel before joining them up again, we can make some pretty impressive sounds. Shown on the right is one of the mixing plug-ins that we use quite extensively in some of our examples.
The beauty of mixing tools like this one is that you have at your fingertips a very easy method of putting your track together. Each of the channels in the example shown, there are eight channels has its completely independent volume and pan controls. As you work through these examples, you will be very pleasantly surprised, if not astounded, the first time that you discover just how much creative control this puts at your fingertips. In some examples, we will be using special Channel Splitter plug-ins to do this.
These are relatively straightforward. However, in many cases these channel splitter plug-ins are not capable of giving us the results that we want. This is when we have to use a different complicated method, splitting our tracks into channels in a way that may not be too obvious or intuitive. Suppose we were to split a Vocal Track into two pairs of channels.
We could then, for example, apply separate EQ to each pair of channels perhaps making one warmer and the other more present and then use the Channel Mixer to pan them differently before joining them up to create a more interesting and varied vocal effect. The diagram on the right illustrates how this might be done. The same original vocal track is passed into two separate instances of ReaEQ, then, as the diagram shows, the output of each EQ instance is fed through a different, separate pair of channels.
How then is this done? The answer comes in two parts. The default is two, but this can be changed to any number up to In the hypothetical example that we are considering here, a total of four channels is needed. In the example shown here, 4 Track Channels have been defined. In most cases, the default settings for both input and output are Channels 1 and 2.
This means that the volume of each receive that is finally used in the track mix can also be controlled using the 3 Band Joiner. Notice how the second illustration makes greater use of the available space. Please note that this is an example designed to illustrate the concept and implementation of bookending. It is not intended to serve as an example of a complete mix.
Have you ever seen a live performance where every single member off the band remains motionless throughout the entire gig? Then why mix as if they do. Rather than keeping each instrument locked into one place for the entire mix, be prepared to use envelopes to make changes to your panning at different parts of the song. This is a less commonly used technique.
These changes are independent of which instrument is carrying which part of the song. The combined effect of these changes and variations is to produce a more live and spontaneous feel to the song.
Note This file is not meant to represent a final mix for this song. You can see that, apart from a limiter in the Master to prevent clipping, no FX have been applied anywhere. The purpose of this project file is purely to illustrate how easy it is to improve your mix with just a little use of dynamic panning. Now try it for yourself.
See how you can make your mix more interesting with the use of dynamic panning. This primer will give you examples and suggestions as to when you might wish to use envelopes, but it is assumed throughout that you already understand what envelopes are, how to create them, and how to make adjustments to them. In most cases it is likely that you will want to use the Post FX envelopes, but the most important thing is that you understand just what you are doing!
Put at its simplest, whichever pan law is selected will help determine the rate at which the volume of a track appears to decay in the mix as the track is panned further away from the centre. The pan law is set in the Project Settings and is by default applied to all tracks in a project file.
If in doubt, it can be a good idea to choose a default setting of —0. To do this, simply right click over the pan control fader in either the Track Control panel or the Mixer and select your required track setting from the drop down list. A project default setting of —0. This information should form a solid reference point when it comes to looking at the techniques and methods that we use to create a wonderful magical illusion with our mixes. That illusion is to use just two speakers to generate a sound that is rich and spatial in all its dimensions.
Treat this chart therefore only as a general guide, not something that you must learn by heart and recite! The demise of vinyl and the rise of music in digital format has seen a tendency to pump up this range to an extent that was previously not possible. It is the range usually affected when you adjust the bass setting on your car or home stereo. Too much of this and your music may sound boomy. Mid Range — to Hz This is the range that perhaps needs the most constant attention.
Too much here will make an instrument or mix sound muddy, and can even cause irritation and annoyance. High Mid Range — to Hz This is the range that our ears are most at ease with. So much so that boosting a frequency around 1dB in this range has the same perceived effect as would be achieved by a 3 dB boost in any other frequency range. Thus, this is the area in which we need to be most careful when making adjustments to EQ.
High — Hz to Hz This range pretty much reflects the range boosted or cut on your car stereo when you adjust the treble control. A little gain in the overall mix around here can make a production sound brighter.
Ultra Highs — above Hz This is where the late harmonics occur. Be very careful about boosting here. You know how you react emotionally and in other ways to various sounds. These differences are illustrated in the following diagram, the Fletcher Munson curve. This diagram quite clearly illustrates the actual levels required at different frequencies for the perceived volume to appear equal. You can see from the dip around the Hz to Hz area that these are the frequencies that we hear the loudest.
Similarly, our ability to hear sounds drops off quite rapidly at frequencies below about Hz and above about Hz. Notice in particular that as the overall volume is raised, the lower frequencies become more prominent.
You can see this, for example, by comparing the shape of, say, the phon curve with the shape of, say, the 40 phon curve.
Depending on the mix of frequencies which make up one song compared to another, both may appear to be at the same volume, but to the listener one will appear louder than the other. You will ultimately want both to appear to be at approximately the same volume.
For example, if a track seems boomy, you may need to lower the bottom end by what appears to be quite a substantial amount around the Hz or Hz range to fix the problem.
On the other hand, if a track seems to be too present, just the tiniest cut around the Hz to Hz area might be enough to fix it. Drums and percussion will be considered a little later. For guidance only: this chart shows only fundamentals, not harmonics. Notice the lightly shaded area that we have described as The War Zone. Take a careful look at the chart on the previous page.
Notice how so many instruments are always competing with each other for the same piece of acoustic space. That, incidentally, is before we even begin to talk about harmonics. This can happen at any frequency.
For example, the viola and the clarinet occupy almost an identical range of acoustic space just about all the way from their lowest notes to their highest.
However, the area to which you may need to give this issue the most constant attention is likely to be that area labelled The War Zone, between about Hz and 1, Hz. Just about every instrument you are ever likely to need to mix will want to lay claim to some space within this zone.
Try an experiment. Put on a CD which contains a full range of instruments and sounds. Well produced classical music is ideal for this. Now sit down and listen. Listen carefully for the different frequencies, starting with the highs and the lows then, after you have identified them, gradually converging towards the mids.
Close your eyes and pay especial attention to where music seems to be coming from. Do the lower notes seem to be coming up at you from below somewhere, while the higher sounds are drifting down from a plane higher up?
Congratulations, you have just discovered the importance of the dimension of height to a good mix. When you are listening to music, you never just hear one frequency on its own. You hear a complex pattern or patterns of many different frequencies in different combinations. If individual frequencies are capable of affecting us in various ways, how much greater is likely to be the effect of different combinations of frequencies?
The sound of any musical instrument is made up of not just a single clean note at a time, but of a whole series of notes that are buried within that sound.
These are the harmonics, the elements that shape the sound. As much as anything else, it is the way one musical instrument produces its harmonics that gives the sound its timbre and distinguishes the sound of that particular instrument from any other. Notice that when you use EQ to raise or lower the volume of any particular frequency, you are actually raising or lowering the volume of a particular harmonic.
This point matters because certain combinations of odd numbered harmonics will tend to produce a more edgy sound, whereas the even harmonics will create a more soothing sound. Notice that every harmonic is arithmetically an exact multiple of the root. Earlier, we explored how panning can be used to add width to a mix.
Consider again our banjo — guitar — mandolin example, shown on the right. The second illustration right demonstrates this concept. It shows the effect of adding some gain to make the banjo sound a little brighter in its upper range, whilst at the same time dulling down the mandolin over the same range to make room for it.
The visual pattern that represents our sound stage is now more varied and interesting, and less made up of homogeneous shades of grey. Right now, it is only important that you get your head around the concept. Notice that what we have done here has not so much been to add height to our mix as it has been to make the existing height more colourful and interesting.
This is done by identifying those ranges within the harmonics where adjusting the EQ settings might add a little sparkle to our mix. In the third illustration right we have done this with the mandolin. To summarise, in this section we have learnt that there are two ways in which you can use EQ to modify and improve the way your mix fills out the frequency range and shares the available space there between the different instruments.
You will be better equipped to make the best use of EQ if you are able understand the relationship between different frequencies and how the listener perceives sound. The more you are familiar with these, the better you should be able to respond to the challenge of using EQ to its best advantage. In doing so, we also add an extra dimension to our mix, a dimension that will make the recording immediately appear more vibrant and alive. This is the dimension of height. We are going to sweep each track one by one to identify which frequencies appear to be the most interesting.
Then by boosting those frequencies a little and sometimes reducing the same frequency on those tracks panned close by make that instrument more distinctive in our mix. Solo the Mandolin track and play it. Open the FX Window for this track.
Make sure that the ReaEQ plug-in is enabled. Select Band 2 and change the band type to Bandpass with a bandwidth of about 1 octave. As the tune plays, slowly move the frequency slider from left to right. You should find that round about the Hz mark the sound has a pleasing distinct brightness and clarity. This, then, is a key frequency for this instrument. Change the band type to Band and create an EQ curve similar to that shown below right.
If you wish, add a similar gain around 4, Hz. You should now repeat this procedure for each of the remaining four instruments, but not at the same frequencies of course.
In each case, sweep to find the optimum frequencies. If you are using the same panning as in our example, start with the Lead Guitar. Because this instrument is closest to the Mandolin, as well as adding some gain to its own key frequencies, you might also like to make reduction around the Hz mark. As you play the tune, you can switch global FX Bypass on and off to evaluate the effect of your changes.
Either hold down the Control key and click on any individual track FX Bypass button, or better still, assign a keyboard shortcut to this function. A possible suggested solution to this exercise is shown over the page.
In fact, our suggestions are, if anything, somewhat conservative. What matters is that your mix should sound right! This primer spends a fair amount of time discussing EQ because it is such a powerful, useful and versatile tool. The purpose of these last few sections has been to help you to understand a theory, and then see how to put that theory into practice. It is much more important that you understand the technique and the theory, so that you can apply them to your own mixes in the future.
Familiarise yourself with the technique of listening to a track scanning with bandpass EQ and then flipping to band EQ when you have identified the frequency to be cut or boosted.
This is a very useful technique which we will use throughout this primer and which will serve you well in your own experiments with EQ-ing. The trick is to first identify the key frequencies for that instrument, and then to double or even treble or quadruple the track, making sure to EQ and pan each copy differently. Here is a very simple example. Example 1. Play the file. Notice it consists of a single track, a mandolin. There is almost no other instrument that on its own sounds as naked as mandolin.
We can do something about this. Using a combination of ReaEQ with a bandpass EQ Filter to sweep the track and an analyser plug-in such as VST MultiInspector Free, identify the three frequencies approximately which are most interesting in shaping the sound of this instrument. There is no single correct answer to this question. Different combinations will produce different, but equally interesting outcomes.
For the purpose of this exercise, let us suppose that we have identified Hz, 1, Hz and 5, Hz as the frequencies that we wish to emphasise. Add a new track and place it above the existing Mandolin Track.
Label this track Mandolin Mix. Add two more new tracks after the original Mandolin track. Label these Mandolin Copy 1 and Mandolin Copy 2 respectively. These will be Tracks 3 and 4. It is important that both these should be Pre FX, as shown on the right. Now make Track 1 a folder and Track 4 the last track in the folder. Your project should now appear similar to that shown below: 8. As you work through the remaining steps of this exercise you will probably want to leave the project running.
We are now going to work on Track 2. Hold the Alt key while you click on the Solo button for this track. Using ReaEQ, adjust the settings for this track so as to give a significant boost around the Hz area, and a significant reduction around our higher key frequencies. A possible outcome is shown in the first of the screen shots on the right.
When you have finished, unsolo this track. You will need to treat Tracks 3 and 4 in a similar fashion. In each case, solo the track that you are working on while trying to find the best EQ settings for that track. Be prepared to toggle the Solo on and off as you evaluate the results of your adjustments.
Possible EQ settings for Tracks 3 and 4 respectively are shown on the right, but you should be prepared to experiment. Treat this process as iterative.
You should be prepared to go back to tracks that you have already worked on and adjust their settings if necessary. Compression will be explained in more detail later, but for now, try setting the ratio at about and the threshold at about — 18 dB.
You should notice a significant improvement in the sound of the mandolin. Open and examine it. Notice the difference in the display here with your track FX on and set to bypass. Note: In some of the later sections of this primer, you will learn that there are other techniques that can be used to further fatten up the sound of a thin instrument.
In this section we will look at one example of how just a few minor EQ tweaks can produce a large shift in the perception of how a vocal track sits in a mix. You will always need to be mindful of the style of vocal with which you are working, and the need to work according to that style. For example, an in-your-face music hall style of singing will require significantly different treatment from a sensitive ballad.
Nevertheless, the underlying principles that you will need to consider will always be the same. Save it immediately as RosesBloom Vox 2. Probably the first thing that will strike you is that the vocal is struggling to make itself heard in places.
You can try simply raising the volume of the vocal track. However, listen carefully and you will find that this is not a satisfactory solution. At times it seems too loud, almost apart from the overall mix.
Instead, try this: Example 1. Add about 4 dB at or around Hz Bandwidth about. This will boost the voice at two important frequencies. This is shown on the right. To compensate for this, we will make more or less equivalent adjustments to some of our instrument tracks. Now play the file, making slight adjustments as required to the volume faders for the various tracks. You should find that the changes that we have made will allow more of the warmth of the vocal to be heard through the left speaker and more of its presence to come through on the right speaker.
This helps to create a fuller and more natural sounding vocal. Of course this is not yet a complete mix. For example, there will be places where you might wish to use Volume envelopes, or ReaComp to further modify these tracks, not to mention any possible reverb or delay or any other FX.
Nevertheless, if you compare how this file sounds with Global FX bypass enabled and with it disabled, you will probably be surprised at the extraordinary difference just these few very small adjustments will have made to the overall sound. In this case, harmonics as well as fundamentals are indicated.
The following comments might also be helpful, but only as a guide. Ultimately, you must let your ears be your judge. Boost around 2, Hz to 2, Hz for more presence. Toms May be boomy around Hz. Boost around 3, Hz to 8, Hz for clarity. Snare May add body around Hz to Hz. Crispness around 4, Hz. Overheads May be muddy around Hz. Presence around 2, Hz to 3, Hz. Brightness around 6, Hz. Example In the example that follows, you will be able to experiment with the application of EQ, Compression and Panning to a project file that includes percussion in the mix.
The object of this exercise is not to create a perfect overall mix. It is to help you to understand how you can go about bringing out the best from your percussion. Insert a new track immediately after the current Track 3.
Name this new track Percussion and use the Track Folder button to make it a track folder. Make Track 7 the last track in folder. If you wish, change the Track Colours so that Track 1 is one colour, Tracks 2 and 3 another, and Tracks 4, 5, 6 and 7 a third colour.
The effect of what you have so far done is shown on the page that follows. Select and solo track 5 Snare and open the FX Window for that track. Play the track. Select Band 1 and make the type Bandpass. Slowly sweep the lower frequencies until you find the frequency at which the body of the instrument sounds the most pleasing.
Change the type to Band, add about 5dB gain, then for the time being untick the Enabled box. Select Band 2 and make it type Bandpass. Slowly sweep the mid-range until you find the frequency at which the instrument sounds at its muddiest. Change the type to Band, take off about 5dB, then for the time being untick the Enabled box. Select Band 3 and make it type Bandpass. Slowly sweep the mid to high ranges until you find the frequency at which the instrument sounds at its clearest. Change the type to Band and add about 5dB gain.
Now enable the other two bands and play the track, making such adjustments to your EQ as you now see fit. Probably you will end up with something quite similar to that shown above. To emphasise the sharp, percussive nature of the instrument, you will want to set relatively short attack about 0.
Set a ratio around 3 or 4 to 1 and adjust the Threshold and Wet Gain settings while you play the track. You are aiming to tame some of the peaks and lift some of the quieter notes. A possible outcome is shown on the right. Optionally, you may wish to also place ReaGate after ReaComp, so as to keep out the bleed from other microphones when the Snare is not being played.
If you do this, you will want the Gate to open and shut quite briskly. Attack and Hold times should be no more than about 1 ms, and Release no more than about 40 or 50 ms to allow the natural decay from the instrument to pass through before the gate closes.
You will need to adjust the Threshold and Wet Gain settings to suit the particular volume of the track. We are now going to do the same for the Kick. Insert ReaEQ. See if you can identify the respective frequencies where the body of the instrument is the firmest, the sound is the muddiest, and where the clarity of the instrument is at its best for this latter one you may need to raise the volume.
After you have sorted out your EQ settings, add ReaComp to the chain. Because of the nature of the kick as compared to the snare , the sound takes a little time to build up after the drum is struck, but it dies off more quickly. Start with an Attack time of about 50 ms and a Release time of about 20 ms and see how you go. We are now going to do the same for the Overhead. This time the EQ task is slightly different. Focus instead just on finding the muddiest mid frequency and the most interesting high frequencies.
Start by trying longer attack and release times than you did for either the kick or the snare. When you have finished, play all the tracks. You should notice that your percussion items are now much more clear and punchy. Compare how the song sounds with global FX bypass on and off hold Ctrl while you click on the FX Bypass button for any track.
You should notice also that the percussion will dominate the mix. Save your work when finished. Open this file, play it and inspect the various FX settings carefully. Be prepared to tweak them especially the use of gating to see if you can improve on the sound. Be aware that it is only a guide, and use it as such. Remember that no two instruments are exactly alike. That which works a treat on one acoustic guitar, for example, might not have the same effect on another.
Notice that for those instruments where it is especially appropriate, the formants are shown in this chart. The formants are those frequencies at which the instrument is most distinctive. Formants can often be considered as being the frequencies which contribute most to giving the instrument its distinctive sound.
Brightness both sides at 2, Hz to 4, Hz. Shrill on the right side above 5, Hz. Acoustic Guitar Fullness and body around to Hz. May be dull around 1, to 3, Hz. Presence and clarity around 4, to 6, Hz. Sparkle above 10, Hz. Bass Guitar Feeling around 40 to 60 Hz. Presence around 1, Hz to 2, Hz. High harmonics around 5, Hz.
Dobro Fullness around Hz to Hz. Bite around 1, Hz to 2, Hz. Bright around 2, Hz to 5, Hz. Electric Guitar Fullness around Hz to Hz. Bite around 2, Hz to 3, Hz. Presence around 5, Hz to 7, Hz. Sparkle above 8, Hz. Harmonica Fat around Hz. Check out their latest issues for many more, but first, scroll through the links below ordered alphabetically , choose your genre and get downloading! A bit of rhythmic gating can help to bring your tracks to life, a fact acknowledged by this instalment of SampleRadar.
Connect: for instant updates on new samples batches, follow SampleRadar on Twitter.
0コメント