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You don't "have" to do anything.However cutting those super low frequencies would be a good idea.The more you cut,the more room you have for the other frequencies.That's one of the reasons you should practice subtractive equalizing.I always have an eq on the master which cuts below 20Hz and everything above 18K Hz and around.Also,if you,for any reason,want to boost some frequencies on eq on the master output,for boosting you should always linear phase eqs.
Do you feel you lose the sizzle at the top cutting at 18k?
I've tried it before and I don't know how I feel.
it's not sizzle, it's just the ultra ultra stuff that makes it hard as hell to listen to at loud volumes.
You adjust this by increasing the volume of the cymbal track.
It's like, trimming the fat, you get a more efficient means of controlling the overall aspect with in the mix because of it.
because you trimmed fat, you have more room to add in other flavors that will make the mix more bountiful in other elements you have.
This is a the way of subtractive philosophy.
I'll only add tiny bumps to specific frequencies that relate to the range i want that element to cover.
And the way i have my channels set up, i usually go from low end to hi end.
You don't "have" to do anything.However cutting those super low frequencies would be a good idea.The more you cut,the more room you have for the other frequencies.That's one of the reasons you should practice subtractive equalizing.I always have an eq on the master which cuts below 20Hz and everything above 18K Hz and around.Also,if you,for any reason,want to boost some frequencies on eq on the master output,for boosting you should always linear phase eqs.
Ive always read that you do not want to cut them on the master, but to do it on each individual track that has frequencies going into that range.
As for not hearing those frequencies, I know you can still feel certain frequencies. And correct me if im wrong as im no expert on the issue, but i thought that even though you cant hear those frequencies, you can still feel them.
I too, but usually for percussive sounds. I'm thinking about glitching either the whole thing, or the major elements one by one in some wierd way.
Thanks guys for the notes and inspiration!
Usually I'd consider some melody variation or support melody in such a case, but glitching it sounds like more fun actually. What do you guys mean by "double time", though. Making a beat slower for that glitching part?
This is just something of a curiosity question tbh, so the mods should feel free to banish it to the great internet recycling bin in the sky if they feel it's for the greater good of the forum.
Anyway, getting your own WIP stuck in your head: does this suggest that your tune is good, or merely catchy, or simply that you've spent too long listening to it? Or none of the above? Discuss. Or don't.
