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No matter what’s mixed, from low-end instruments to vocals to accompaniment tracks, each item should own the frequency area that fits the arrangement and defines its sound.
Nothing causes more confusion than a question of ownership. Case in point, a pair of plain socks fresh from the dryer. The more people in the family, the more unclear the owner. The same can be said for audio channel frequency ownership. When two or more mixer channels battle for the same primary frequencies, the mix suffers as clarity between those channels is lost.
Mix a band and the instruments and vocals will compete for fundamental frequencies. Two controls often used for channel separation are volume and effects, but these don’t address the root problem. Mix clarity comes when frequency ownership is established. Only then should controls like effects be used.
Here are three areas where frequency ownership clears up clarity and enhances the overall mix.
1. Clarity between the kick drum and the bass guitar
These two instruments vie for the same primary frequencies and until that frequency ownership is defined, the listener can’t distinguish one from the other. The first step is to match each instrument’s sound with the musical arrangement. For example, the bass line of a song might be key to the arrangement and, therefore, it’s the bass that might need to punch through the low end. This doesn't mean the kick drum is reduced in the mix, but it does mean that its EQ curve makes way for the bass.
A great way to split test any two instruments is to listen to only those two channels with headphones.
For example, for a fat bass sound, try a boost in the 75 Hz-150 Hz range, but first try to cut the kick drum in the same range to see if the bass guitar pops out in the mix. Cut from the drum first and only then boost the bass if it’s needed. Half the time, I find cuts do the trick.
A great way to split test any two instruments is to listen to only those two channels with headphones. Then mute one channel and see how much the other pops in the mix. This can reveal which instrument should own a frequency range and how much to cut or boost each. Only after cutting should boosting be considered.
2. Clarity between vocals and backing vocals
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 sound of each very distinct. Consider the times when the lead vocal should stay above the backing vocals.
Imagine a lead singer and two backing singers on stage. The two backing singers should blend together for a unified sound. Once the blended sound has been created, turn to the lead vocal. Let's say the backing vocals and lead vocalist both have a lot of definition in the 1.2 kHz range. Apply a narrow cut to the backing vocalists in that 1.2 kHz range and ownership of that range is now given to the lead vocal.
Remember that ownership isn’t always defined by more of what you want, but by less of what conflicts. It’s like mayonnaise on a sandwich—do you want more meat or less mayo.
3. Clarity between a solo singer and an accompaniment track
This is a tough one because accompaniment tracks can have backing vocals, guitars, orchestral sections, and a myriad of other sounds which can make establishing lead vocal clarity a chore. I'll spare you my nightmare stories.
Unless the accompaniment track is via software that allows for control over the individual tracks, then active mixing is where it’s at. I’ve had backing vocals come in so strong that I had to ride the track fader to allow the lead vocal to shine through. Although compression can be used on a track to reduce some of these fluctuations, I find fader riding more effective. Use what works best during practice and keep in mind the soloist should always be on top.
Additionally, 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. An accompaniment track can provide many hurdles to mix clarity, so find success in EQ cuts, boosts, and fader riding.
No matter what’s mixed, from low-end instruments to vocals to accompaniment tracks, each item should own the frequency area that fits the arrangement and defines its sound. Mix clarity can come from volume differentiation and effects usage but, most of all, mix clarity comes best from frequency ownership. One last question, if you don't mind; have you seen a pair of plain white socks?
