What do you own? Do you own a car, a coffee cup, an iPhone, or a pair of Superman boxers? Ownership means the item belongs to you. It means no one else can claim it. This same concept extends to audio mixing in the form of frequency ownership. Once you see how this works, you'll find creating clarity in your mix a much easier task.
The problem with mixing a band is dealing with instruments and vocals competing for the same fundamental frequencies. You can create mix separation with volume differences and effects but the best way to get this separation is recognizing each audio channel should have frequency ownership.
Here are three examples of how frequency ownership can clear up clarity issues.
1. Clarity between the kick drum and the bass guitar.
These two instruments are vying for the same primary frequencies and until you create some sort of separation, the listener won't be able to distinguish one from the other. You must allow each instrument to own the frequency area which best defines their sound for the song. This doesn't mean you cut it out entirely from other instruments but you do cut it enough to give clear ownership to one sound.
"What can I cut out from one instrument to let the other instrument shine through."
For example, if you want a fat bass sound, you could boost the bass in the 75 Hz – 150 Hz range but you could then be conflicting with the kick drum. Therefore, you'd need to apply a cut to your kick drum in the same area. But as we all know, it's better to cut first! That being said, when you listen to your kick drum and bass and don't hear the separation you desire, first ask yourself, "What can I cut out from one instrument to let the other instrument shine through." Only after cutting should you consider boosting.
2. Clarity between vocals and backing vocals.
First of all, clarity between vocals and backing vocals is a per-song issue. Some song arrangements blend backing vocals with the lead vocals during a chorus or even throughout the song. Some arrangements keep the two sounding vastly distinct. For this point in the article, let's talk about the times when you need the lead vocal to stay above the backing vocals.
Let's say you have a lead singer and two backing singers. The two backing singers will likely be blended together for a unified sound. Having that new sound created, what about that lead vocal? Let's say your backing vocals and lead vocalist both have a lot of definition in the 1.2 kHz range. By applying a small narrow cut to the backing vocalists in the 1.2 kHz range, you are giving ownership of that area to the lead vocal. Please note that ownership isn't by boosting the frequency range for the vocal that needs it but it's by cutting it out from the vocal channels that are conflicting with it. Just like the kick drum and bass example, boost only if needed.
3. Solo singer with accompaniment track
This is a tough one because the accompaniment track might have backing vocals, guitars, and orchestral sections. I'll spare you my nightmare stories.
Mixing a soloist against a backing track is usually cause for active mixing. I've had to ride the fader on a backing track because an orchestral section is all over the place regarding volume. While a compressor can help, there are times like this when it's best done manually. You might disagree and I'm OK with that. The important point to keep in mind is the soloist should always be number one.
Find the frequency area of the soloist that defines their voice. Listen to their voice and how the accompaniment track uses that same frequency area. You may or may not need to apply a frequency cut. It's all dependent on what you hear in the accompaniment track.
Summary
Each musician should own the frequency area that defines his or her sound. This isn't to say you must get rid of it entirely from the other channels. Mix clarity comes from volume differentiation, effects usage, but most of all, mix clarity comes from frequency ownership. One last question, if you don't mind; have you seen my Superman boxers? I seem to have misplaced them.