EQ Bands


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Drum Bus EQ settings

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Remember that you need to use additive EQ only if necessary or else you’ll end up with a muddy mix, that is why a lot of people recommend subtrative EQ because it’s much safer. So use this approach wisely and keep in mind that this is a guideline. Low-End:  For your drum bus, you won’t need a drastic high-pass filter. Create a small high-pass filter till around 30Hz and not more. Boominess:  Make a small cut in the 60Hz range to remove some boominess. Don’t use a low-shelf EQ, use a bandpass filter with a narrow Q factor. Fullness:  If you have t hin and wimpy drums, make a boost in the 125Hz frequency range. This will add some punch and fullness. Body:  A really small boost in the 250Hz range will add more body and weight helping the drums sound warmer. Boxiness:  Since you’re going to add a lot of frequencies you’ll need a big cut around 500Hz to remove mud and boxiness. Attack & Presence: 2 boosts, one around 1kHz and another...
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Klanghelm IVGI 2

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Introduction IVGI's base sound is comparable to the DESK mode in the big brother SDRR. Both started with the same base but emerged into different directions. You can think of both as twins, who were separated at birth. IVGI is designed to react dynamically to the input signal. Even the modeled fluctuations react dynamically and also change depending on the drive setting, so that it doesn't get in the way of the SOUND. Stereo tracks benefit from it's modeled crosstalk behavior with controllable level. Just as its big brother SDRR, IVGI features a “Controlled Randomness”, which determines the internal drift and variance inside the unit. It contributes to the liveliness and realness of IVGI's saturation character. All internal processes are modulated to some extent to make this possible. IVGI gives you a sensible amount of controls to manipulate the character of the saturation itself. It offers a unique ASYM MIX kn...
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Parallel Compression

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Parallel compression is a powerful mixing technique, but it's often misunderstood. Read on to find out what it really does — and how it can help you make better mixes. When talking with sound-engineering students of all ages and experience, I often find that one area where most struggle is compression. Perhaps that's not surprising, since the concepts are fairly challenging on their own — before even contemplating the subtleties of different kinds of physical implementation (or modelling). Compressors are available in myriad different forms, using feed-forward or feedback control paths, with RMS- or peak-weighted side-chains, and even more variations of audio-attenuation device, such as opto attenuators, diode rings, vari-mu valves, solid-state VCAs… and the list goes on! Let's leave such complexities aside for the moment, though, because in this article I really want to try to clear up some common misunderstandings about the increasingly fashionable technique of p...
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