![]() ![]() Tool types we’ll discuss in a separate article.Īt this point it should also be pointed out a multiband compressor/expander is only needed because the mix is lacking. A linear phase tool would be the first choice as we can be extremely corrective with minimal artefacts in relation to more traditional tools. ![]() ![]() This, in affect, is EQ because if we change the gain of a frequency band dynamically we are inherently equalising. We would engage in corrective processing mainly through the use of a linear phase EQ or via dynamic tools such as a linear phase multi-band. Any and all of theses need to be corrected or balanced before we can start to address the overall tonal correction of a mix. These could include honking or resonate bass notes, middle range resonances/holes, over zealous hi hat/cymbal and/or ‘s’, ‘t’ on vocal. In corrective, we are dealing with issues within the mix that have not been picked up in the mixing processes. These to distinct stages should not be blurred. The correct tonal balance is relative to the intent of a track but we can split differing events in to two distinct categories - Corrective and Tonal balancing.Ĭorrective will always be before tonal balance as until the mix is equal within itself we cannot equalise its tone overall effectively making it ‘fit for purpose’. We always have different aspects to address, every composition, album and artist is unique. The mix again we would describe as in need of corrective processing before the small tonal balancing required. Lack of fast transient detail in studio monitors is common. This will have been because the monitors used did not translate the percussiveness of the transients correctly. Again, this type of mix we would describe as in need of corrective tonal balancing.Īn interesting issues with rock mixes is where there is good tonal balance throughout, essentially an excellent mix but the attack/snap of the snare and/or kick transient is to aggressive, masking the other high mid content making small tonal correction to the high end unproductive. This is a common problem with mixes constructed on small near field monitoring and/or where there has been little attention to correct use of filters (see other article). This type of mix we would describe as in need of corrective tonal balancing.Īnother common issue is if the mix sounds generally in tonal balance apart from the low end woofs from around 50-60hz down. This is quite common where the mix engineer has not reduced the sibilance on the vocal enough and because of it presence they have not equally addressed the tone correctly in the rest of the mix. In another example, perceptively the tone overall may sound in balance but within the instrument interaction the amount of presence of the vocal is masking the actual amount of treble in the mix. This type of mix we would describe as well balanced even though the proportioning of relative tone is not. In this we would only need to apply a small tonal shift to make the track ‘fit for purpose’. In example We could have a track that is dull, lacking high energy overall, but the instruments interact well between themselves, being equally as dull as each other. Is the proportioning of bass (LF), middle (MF) and treble (HF) in balance? Is the composition of instruments individual tone within the mix in equilibrium? When first listening to a session mix I’m interrogating the following differing aspect of the tonal balance This balancing is also the key element in achieving perceived loudness in a given mixes dynamic range. This could be a hi-fi, car stereo, i-pod, mobile phone, sound reinforcement rig and so on. It must sound equally weighted within itself on all playback systems. To achieve a mastered sound we need good tonal balance, meaning, to make a track ‘fit for purpose’. When discussing good frequency balance in the mastering process we must first set out our basic aims and contextualise their affect on the other parts of the process to understand the most effective way to correct and/or enhance the session mix. ![]()
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