An EQ allows you to sculpt the sound of any instrument so that it stands out in the mix. So how do you find the best and worst each instrument has to offer and adjust them accordingly?
In the next and final part, we’ll explore more EQ mixing tips and how some effect can also lift your mixes in Studio One. Until then, happy mixing! How To Mix Your Track in Studio One 4: step-by-step. First things first, listen out for levels. Anything distorting? Join mixing engineer and educator Joshua Carney in this course to learn the art and science of mixing with Studio One 4. Joshua Carney Josh Carney is an audio and mix engineer, producer, composer, and multi-instrumentalist and, of course, an excellent trainer! Mac OS X users: From within Studio One n avigate to Preferences/Options/ Locations/VST Plug-ins. Click on the Add button, and specify the location of your plug-in. You can also drag-and-drop any folder from the Explorer/Finder into the Locations list in Studio One. Studio One Producer/Professional will then scan these locations at. Dec 12, 2013 Sidechain Techniques in PreSonus Studio One. Gary Hiebner on Dec 12, 2013 in Presonus Studio One 0 comments. Share: Language. NLE Releases PreSonus Studio One 4: Recording And Editing Audio. How To Import And Stretch Audio Files In PreSonus Studio One 4. NLE Releases New Course: PreSonus Studio One 4 102 - Recording And Editing. Jan 14, 2019 Studio One - The Basics of EQ Tim Talks Audio. Unsubscribe from Tim Talks Audio? Get Started In Presonus Studio One 4 - In Less Than 20 Minutes! - Duration: 19:40. Aug 02, 2019 Studio One 4 Professional Presonus 4.5.0 (Aug/2019 updated) 64-bit Windows 7 (SP1), 8 and 10 Instructions: Attached Direct Download (251MB) Important: Many AV (Antivirus) solutions may identify the “keygen” as a threat, but it’s not. If you are not used to it or feel insecure, do not download the file. Thanks, VSTCrack Team.
Here is a great starting place:
First, solo just the instrument with which you are working. Most engineers start building their mix with the drums and work from the bottom up (kick, snare, toms, hi-hat, overheads). Each instrument resonates the most in a specific frequency bandwidth, so if you are working on your kick drum mic, start with the lowest band of the EQ. Tune in the best-sounding low end and move on to the attack. It is not uncommon to hear an annoying ringing or a ‘“twang’” somewhere mixed in with your amazing-sounding low end and perfect attack, so your next task will be to find that offending frequency and notch it out. Once you are satisfied with your kick drum, mute it, and move on to the next instrument.
Taking your time with equalization is well worth the effort. Your mix will have better separation and more clarity when each instrument’s EQ is set so that it shines through the mix.
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Studio One 4 Eq 3
A few general words of wisdom:
You can only do so much. Not every instrument can or should have a full, rich low end and a sharp attack. If every instrument is EQ’d to have the same effect, it will lose its identity in the mix. Your goal is not individual perfection, it is collective perfection in the mix.
Step away from the mix. Your ears get fatigued just like the rest of you. If you are working particularly hard on one instrument, your ears will be quite literally numbed to that frequency range.
Your memory is not what you think it is. Comparing a flat EQ and the curve that you’ve created allows you to see exactly what you’ve done. So be honest with yourself. Sometimes that EQ setting you’ve been working on for 15 minutes is not the right choice, so move on.
Never be afraid to take a risk. The best EQ tricks were found by mad scientists of sound. “Playing” applies to engineers as well as musicians.
EQ Frequency Guide
You can add clarity and fullness to any instrument in a mix by attenuating (cutting) or boosting certain frequencies. And of course, adjusting the wrong frequencies can make an instrument shrill, muddy, or just downright annoying. The following table offers suggestions for frequency ranges that should be boosted or cut when shaping the sound of commonly used instruments. Remember, these are just suggestions; these frequencies may need to be adjusted up or down depending on the instrument, room, and microphone.
Frequency Ranges
The diagram below can be used as a quick reference for where various tonalities of different instruments fall within the range of human hearing:
Suggested EQ Settings
Here are suggested EQ settings for several different instruments to help you get started. These settings are for the four-band semi-parametric equalizers found in the PreSonus® Studio Channel, and StudioLive® series, but you can adapt them to other multiband semi-parametric EQs.
If you are using a fully parametric EQ, such as the PreSonus Pro EQ plug-in, we suggest that you play with the Q setting when a high or a low Q is suggested, in order to find the right width for the instrument or mix. This will also give you a better understanding of how the Q affects the sound.
Of course, the right EQ setting for any given instrument will depend upon the overall mix and the tonality of the instrument.
Pop Female Vocals
LOW ON/OFF
LOW PEAK/SHELF
LOW FREQ
LOW GAIN
LOW MID ON/OFF
LOW MID HI/LOW Q
LOW MID FREQ
LOW MID GAIN
ON
PEAK
130 Hz
-2 dB
ON
LOW
410 Hz
-2 dB
HI MID ON/OFF
HI MID HI/LOW Q
HI MID FREQ
HI MID GAIN
HI ON/OFF
HI PEAK/SHELF
HI FREQ
HI GAIN
ON
LOW
2.4 kHz
+2 dB
ON
PEAK
6 kHz
+8 dB
Rock Female Vocals
LOW ON/OFF
LOW PEAK/SHELF
LOW FREQ
LOW GAIN
LOW MID ON/OFF
LOW MID HI/LOW Q
LOW MID FREQ
LOW MID GAIN
ON
SHELF
155 Hz
+4 dB
ON
LOW
410 Hz
+6 dB
HI MID ON/OFF
HI MID HI/LOW Q
HI MID FREQ
HI MID GAIN
HI ON/OFF
HI PEAK/SHELF
HI FREQ
HI GAIN
ON
LOW
1.4 kHz
+6 dB
ON
PEAK
4.2 kHz
+2 dB
Pop Male Vocals
LOW ON/OFF
LOW PEAK/SHELF
LOW FREQ
LOW GAIN
LOW MID ON/OFF
LOW MID HI/LOW Q
LOW MID FREQ
LOW MID GAIN
ON
PEAK
225 Hz
-2 dB
ON
HI
960 Hz
-1 dB
HI MID ON/OFF
HI MID HI/LOW Q
HI MID FREQ
HI MID GAIN
HI ON/OFF
HI PEAK/SHELF
HI FREQ
HI GAIN
ON
LOW
2 kHz
+2 dB
ON
PEAK
7.2 kHz
+4 dB
Rock Male Vocals
LOW ON/OFF
LOW PEAK/SHELF
LOW FREQ
LOW GAIN
LOW MID ON/OFF
LOW MID HI/LOW Q
LOW MID FREQ
LOW MID GAIN
ON
PEAK
155 Hz
+2 dB
ON
HI
2.1 kHz
-6 dB
HI MID ON/OFF
HI MID HI/LOW Q
HI MID FREQ
HI MID GAIN
HI ON/OFF
HI PEAK/SHELF
HI FREQ
HI GAIN
ON
HI
2.4 kHz
-2 dB
ON
SHELF
7.2 kHz
+4 dB
Snare Drum
LOW ON/OFF
LOW PEAK/SHELF
LOW FREQ
LOW GAIN
LOW MID ON/OFF
LOW MID HI/LOW Q
LOW MID FREQ
LOW MID GAIN
ON
PEAK
130 Hz
-4 dB
ON
LOW
610 Hz
+4 dB
HI MID ON/OFF
HI MID HI/LOW Q
HI MID FREQ
HI MID GAIN
HI ON/OFF
HI PEAK/SHELF
HI FREQ
HI GAIN
ON
LOW
1.6 kHz
+4 dB
ON
SHELF
4.2 kHz
+4 dB
Left/Right (Stereo) Drum Overheads
LOW ON/OFF
LOW PEAK/SHELF
LOW FREQ
LOW GAIN
LOW MID ON/OFF
LOW MID HI/LOW Q
LOW MID FREQ
LOW MID GAIN
ON
PEAK
130 Hz
-2 dB
ON
LOW
410 Hz
-2 dB
HI MID ON/OFF
HI MID HI/LOW Q
HI MID FREQ
HI MID GAIN
HI ON/OFF
HI PEAK/SHELF
HI FREQ
HI GAIN
ON
LOW
2.4 kHz
+2 dB
ON
PEAK
6 kHz
+8 dB
Left/Right (Stereo) Drum Overheads
LOW ON/OFF
LOW PEAK/SHELF
LOW FREQ
LOW GAIN
LOW MID ON/OFF
LOW MID HI/LOW Q
LOW MID FREQ
LOW MID GAIN
ON
PEAK
130 Hz
-2 dB
ON
LOW
410 Hz
-2 dB
HI MID ON/OFF
HI MID HI/LOW Q
HI MID FREQ
HI MID GAIN
HI ON/OFF
HI PEAK/SHELF
HI FREQ
HI GAIN
ON
LOW
2.4 kHz
+2 dB
ON
PEAK
6 kHz
+8 dB
Kick Drum
LOW ON/OFF
LOW PEAK/SHELF
LOW FREQ
LOW GAIN
LOW MID ON/OFF
LOW MID HI/LOW Q
LOW MID FREQ
LOW MID GAIN
ON
PEAK
108 Hz
+4 dB
ON
HI
290 Hz
-4 dB
HI MID ON/OFF
HI MID HI/LOW Q
HI MID FREQ
HI MID GAIN
HI ON/OFF
HI PEAK/SHELF
HI FREQ
HI GAIN
ON
LOW
1.6 kHz
0 dB
ON
SHELF
6 kHz
+4 dB
Electric Bass Guitar
LOW ON/OFF
LOW PEAK/SHELF
LOW FREQ
LOW GAIN
LOW MID ON/OFF
LOW MID HI/LOW Q
LOW MID FREQ
LOW MID GAIN
ON
SHELF
36 Hz
-8 DB
ON
HI
130 Hz
+4 dB
HI MID ON/OFF
HI MID HI/LOW Q
HI MID FREQ
HI MID GAIN
HI ON/OFF
HI PEAK/SHELF
HI FREQ
HI GAIN
ON
LOW
2.0 kHz
+4 dB
ON
SHELF
4.2 kHz
0 dB
Acoustic Guitar
LOW ON/OFF
LOW PEAK/SHELF
LOW FREQ
LOW GAIN
LOW MID ON/OFF
LOW MID HI/LOW Q
LOW MID FREQ
LOW MID GAIN
ON
PEAK
155 Hz
+4 dB
ON
LOW
690 Hz
+2 dB
HI MID ON/OFF
HI MID HI/LOW Q
HI MID FREQ
HI MID GAIN
HI ON/OFF
HI PEAK/SHELF
HI FREQ
HI GAIN
ON
LOW
2.0 kHz
0 dB
ON
SHELF
6 kHz
+4 dB
Distorted Electric Guitar
LOW ON/OFF
LOW PEAK/SHELF
LOW FREQ
LOW GAIN
LOW MID ON/OFF
LOW MID HI/LOW Q
LOW MID FREQ
LOW MID GAIN
ON
PEAK
320 Hz
+6 dB
ON
LOW
960 Hz
0 dB
HI MID ON/OFF
HI MID HI/LOW Q
HI MID FREQ
HI MID GAIN
HI ON/OFF
HI PEAK/SHELF
HI FREQ
HI GAIN
ON
HI
3.5 kHz
+4 dB
ON
SHELF
12 kHz
0 dB
Piano
LOW ON/OFF
LOW PEAK/SHELF
LOW FREQ
LOW GAIN
LOW MID ON/OFF
LOW MID HI/LOW Q
LOW MID FREQ
LOW MID GAIN
ON
SHELF
108 Hz
-2 dB
ON
LOW
690 Hz
+2 dB
HI MID ON/OFF
HI MID HI/LOW Q
HI MID FREQ
HI MID GAIN
HI ON/OFF
HI PEAK/SHELF
HI FREQ
HI GAIN
ON
LOW
2.9 kHz
+2 dB
ON
PEAK
7.2 kHz
+4 dB
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