How to record... frequencies

[Riccardo Corbari]

Hi. Reading the interesting and active topic dedicated to the recording levels, I ask what's the best way to record the instruments placing them directly in the correct frequency spectrum position?

Ex: if we are recording a jazz grand piano and we must overdub a double bass, due to the wide frequency spectrum of the piano, we could record the DB covering the same low end frequencies. This may cause an overlap of low freq, damaging the mix.

We all know that each instrument should fill a certain piece of freq bands, and we should avoid overlapping.

So what's the best way to record mantaining a clear mix w/o overlaps?

[asa]

You will never preven overlaps, or rather that shouldnt be your intention completely. The way I like to think of it is, each instrument or sound needs a frequency focus that gives it placement in the mix. For instance, you could remove some 60-125hz from the Piano, and slightly accent these frequencies in the bass, at the same time, decreasing some 180-240hz in the bass (often muddy frequencies anyway) and then accent those in the Piano. This ensures you still have some richness and low end in the Piano and Bass, but at the same time they are not competing for the same placement in the low-freq range. That is just a quick blurb, and of course it is totally dependent on the actual sound and tone of your recorded instruments, but I think you get the idea.

Hope that helps.

[Riccardo Corbari]

You're right, this is complementary eq. Boost and dip, but often we can hear to perfect mixes, surely due to very high experience of the mixers (like Dave Pensado) and listening to these mixes the fact that each sound has its focus is really clear.

I just need to know if there's some hidden tip to have better results.

Thank you

[asa]

I think only experience and a good ear can give you those results. Due to the infinitely variable realm of hearing and recording, each recording and mix will be unique to a certain extent. I dont think I have ever learned any magic tips that apply to all things. Do you have a link to any of this music, or perhaps a session file or something we can hear? This might make it easier to get specific advice.

[Riccardo Corbari]

it's not a matter of specific advice, it's just about tips. But if you tell me that there's no tip about this topic, I think we just need to try to improve our experience, without tips applied on it!

[sdevino]

I do very little frequency manipulation and lots of time manipulation. We normally locate instruments by the time related information arriving at hour ears. Use delays and mic location to manipulate small amounts of time and you will be able to use full spectrum audio of multiple instruments with excellent clarity and realism.

When you hear someone refer to the "soundstage" or creating a 3d soundstage this is done by placing the instruments in "spaces" within the mix by use of time manipulation.

An example: recording acoustic guitar rhythm plus acoustic guitar lead. If you record the rhythm part in stereo then record the lead in mono you get execellent location without the need for much EQ.

or close mic the bass but mic the piano a little wide and a little less close. You get both parts nice and clear without too much EQ.

[Hit$quad]

I do very little frequency manipulation and lots of time manipulation. We normally locate instruments by the time related information arriving at hour ears. Use delays and mic location to manipulate small amounts of time and you will be able to use full spectrum audio of multiple instruments with excellent clarity and realism.

When you hear someone refer to the "soundstage" or creating a 3d soundstage this is done by placing the instruments in "spaces" within the mix by use of time manipulation.

An example: recording acoustic guitar rhythm plus acoustic guitar lead. If you record the rhythm part in stereo then record the lead in mono you get execellent location without the need for much EQ.

or close mic the bass but mic the piano a little wide and a little less close. You get both parts nice and clear without too much EQ.

I do like your approach Steve

[RobMacki]

It sounds like what you are describing is timbre being changed by overtones during a live session?
If that is what you are talking about I found a chart here
In 3rd year theory we spent a term studying the impact of families of instruments in given keys.
ex: Strings tend to play sharp, Winds tend to play flat, Transposing instruments have their own problems etc.
HTH