Until this point, I have opted to catalogue the different skills I learned according to their lesson. The example we were given to mix was a Nirvana track, however I felt it more efficient to incorporate this into my remix project.
I have chosen to show 2 examples of a section within my remix where all of the tracks are playing; the first example is with all EQ on all tracks switched off, the second will be identical but with the EQ settings switched on. Screen shots will then follow to give evidence of the settings used on each individual element.
The above image shows the section which I have selected.
Below is the link to the un EQd version.
https://soundcloud.com/stanley-vickery/section-of-my-remix-with-all-eq-turned-off
and below is the same section with EQ on.
https://soundcloud.com/stanley-vickery/after-eq
I had 2 hihat sounds, the EQ I used on them both was the same: I dipped the frequencies at 7.35 kHz as these were irritating to the ear. I cut off anything past 18 kHz and used a high pass at about 4 kHz.
As I was aiming for an industrial, dystopian style track, I wanted some fuzzy sounding echo snares; to make this sit better in the mix, I placed a high pass at 300 Hz, to get rid of the unwanted low end rumble, I also dipped the EQ at broadly at 1kHz as this sound had a lot of frequencies in that region and it was making the mix muddy.
My kick sound was designed to sound crunchy and lo-fi whilst still having a decent low end and presence.
I boosted the sub frequencies slightly, did a massive notch cut at 5kHz and took out the 'air' by attenuating at about 10kHz. The EQ shape is very unorthodox as I used both boosting and attenuation. I found that this sounded great so kept the settings.
This is the main synth which gives the whole peice its tonal identity and mood; as it is the focal point, I did both a high pass and low pass to take out the unwanted frequencies and to give space to the rest of the mix. As it is an extrememly resonant sound, I did a wide attenuation in the area of the spectrum where the frequencies created the most muddiness.
I duplicated the bass in order to have one part with presence and reverb but not low end, and the other I kept without reverb and cut out the high frequencies.
The reverb version had this EQ on:
The low end bass part was EQd as follows:
When the 2 are shown next to each other, there is space around the 100 - 400 Hz range which leaves room for the kick and other elements.
I duplicated the ebow drone, to do a similar process to the bass; one part had a lot of reverb on and the other had more presence.
Both versions had the same EQ though.
The rolling snare track ahd plenty low and high end, so I attenuated the low frequencies gently, still ensuring anything below 100Hz was completely gone. I boosted the crunchy part of the sound at around 1 kHz and then attenuated the high frequencies to get it sitting further back in the mix.