Real Rad Magazine : Winter 2016

THE “MYSTERIOUS” LOW-END
ENVIRONMENT
This quarterly we explore the “mysterious”
low-end of the mix. Low -end instruments and sounds
include the ever important kick drum, the bass, and
also lower registering instruments such as the tuba. A
common problem for project audio engineers is accurately
monitoring the low-end of a mix. This is due to improper
studio environments that can include a small bedroom,
garage, or backyard shed. Often times the problem with
these environments is how the low-end reflects off of
objects and the walls in the environment. These reflections
can create inaccurate imaging in your ear, leading to a mix
that may sound good in your environment from your
speakers but it will most likely fall apart in another
environment due to the inaccuracies. There are devices
that can be bought that will adjust the way frequencies
are presented through your monitors that can help with
the issue and your environment can also be treated with
diffusers or bass traps to combat the reflections but these
methods can be a bit pricey for the project studio
engineer.
“IT’S LIKE TWO BROTHERS
INHERITING THE SAME LAND IN A
KINGDOM. THEY ARE JUST GOING
TO FIGHT EACH OTHER.”
REFERENCING
A reasonable way to combat the lack of funds
for imaging adjustment devices and room treatment is
referencing. Listen to a commercial recording that sounds
similar to what you are trying to achieve. Better yet, bring
that track in the mix, mute it while your music is playing
and then solo the reference track to listen and compare. Is
your kick as punchy as the reference track? Does your bass
sound as tight as the reference track? How are the levels
and loudness in comparison? Referencing is a common
practice among the most elite audio engineers in the
world and it is a great way to make up for less than stellar
studio environments.
Another obstacle a project audio engineer could
face while mixing is listening to tracks with near-field
monitors that do not completing replicate the sound
image of the music that is being played. Some speakers
may not capture frequencies below 60Hz. Inexperienced
project audio engineers can become frustrated by the lack
of low-end and may compensate by adding too much lowend
which can actually weaken the power of the low-end.
Other times the same engineer may not put enough lowend
in there which will make the mix top heavy. Utilizing
a reference track can help a project sound engineer
discover some of the nuances that their monitors possess
and can really help with how to tackle issues that plague a
project studio mix.
THE BATTLEGROUND
Low-end is tricky and can very well be the
Achilles heel to any modern music sound recording
especially when the low-end houses the kick drum and
the bass. Do not make the mistake of trying to make the
two low-end instruments occupy the same frequency
range. It’s like two brothers inheriting the same land in a
kingdom. They are just going to fight each other.
The sound engineer must make a decision on
what instrument dominates the lower end of the spectrum
in comparison to the other one. This all depends on the
track that is being mixed. Sometimes the kick drum may
reach down to 50Hz while the bass hangs around the
90Hz range. In a different musical composition the bass
may dip to around 40Hz while the kick drum hovers at
60Hz.
Again, it all depends on the track at hand.
Either way, it is important to decide what instrument
commands a particular frequency range. This allows
the instruments to have the room in the stereo image to
communicate their respective sound better. Finally, after
adjusting, treating, monitoring, referencing, mixing and
equalizing, listen to your mix in a different environment,
along with your reference track. When it comes to music
70% of people still listen to over 60% of their tunes in a
vehicle. Listen to your mix and compare your mix to your
reference track in a car. Factory car speakers won’t give
you all the information that the low-end pumps out but it
will at least give you an idea of how your low-end will hold
up in the most popular environment for music. If you are
still curious of how your low-end may articulate in a club
environment or you just want to hear what that sub bass
accurately sounds like, take your mix to a professional
studio environment.
•
There is a ton of knowledge to gain from a professional
studio session even if it is only for an hour or so.
Read more “Making Better Music” articles in past issues or Real Rad Magazine.