low CUT or why NOT?!

Intro

The most common question regarding mixing is whether it is worth cutting out the lower frequency range one by one for almost every channel, thereby freeing up space in the bass range. From this operation, many expect the exceptional dynamics and loudness that are the characteristics of today’s modern music.

The answer is not that simple. In order to understand why this is necessary, we need to talk about the “Sandwich EQ” method. This is a term covering a solution that indicates that each sound or channel has its own place, moves in a well-defined frequency range and does not go out of it. So, like a sandwich, we can stack the tracks of our music neatly on top of each other. As a result, everyone will have their own space and will not disturb others. Just like with a good sandwich, the sauce must blend the ingredients together to make a delicious dish, so in music we have a tool that is meant to fulfill the same role, and it is none other than the compressor. EQ techniques will also determine the behavior of the compressor, so this is an extremely important tactical step. If we cut the bands too thin, it will be loud but not powerful, and if we leave too much meat on it, it will lose its airy lightness and become heavy and overweighted. Therefore, it is very important to find the ratio that not only enhances but also supports the style of the music. We must note that the professionals are not satisfied with this and, going beyond as they further spice up their work with strategically thought-out acts that give and reinforce the already excessive typically style-specific character, thereby injecting additional loudness and energy into the music.

Now that we know this information, let’s get back to the original question.

Cutting the Lows

What happens if we cut off the deeper freqs of each band that is not meant to play a bass role one by one? This will lead to a general thinning phenomenon, because if we remove the 100hz range from the snare drum, we will actually turn it into a clap, in the same way, if we cut too much from a piano or guitar, it will also lose its original sound image. In the case of synthesizers in electronic music, it is more difficult for our ears to find exactly where the point is when it is necessary to stop cutting out the lows, since there is no real instrument that exists in reality to which we can compare its realistic sound image. In such cases, we can only refer to well-known and proven references. Unless we want to be the reference later, because we have a concept that differs from the traditional approach.

Nowadays, many people try this in the hope that their unique sound will be the key to success and will attract the attention of the masses. In practice this often does not lead to success. For this reason, it is worth keeping to the old school methodology and returning to the good old references. In the case of synthesizer sounds, the most common mistake is that something went wrong in the sound design, this is usually compounded by the mistake that the artist tries to compensate for his shortcomings by adding another layer, but often this only does more harm. A good track from a good instrument is always much easier to insert than a mass made of several tracks performing the same function. We will not go into the problems of layering any further because it is also worth a separate article by itself.

We need to gain practical experience to become better at the mixing process. For this, several techniques must be tried. The previously mentioned layering technique often uses the trick that a bass sound is built up from a sub-bass range and a mid-bass range, but these are present separately, i.e. on two separate tracks, which is also good because in this way we can also insert our kick drum in between. When cutting the lower frequency range, the question often arises as to whether it is worthwhile to record a thicker signal from the beginning and then carve it out, or should we aim the sound design strive to make the given sound fit as well as possible into the musical concept. Well, in general, it is true that the less you have to touch the EQ, the better result you will get. Because EQ can result in phase shifts, and especially in the bass range, this is a very delicate phenomenon that affects our dynamics, if we are careless, it is often negative, but if we learn to use it well, we can even gain an advantage from it.

Common mistakes

There are a lot of articles about how if you cut off all non-bass bands below every hertz, the bass section will be cleared and the dynamics and volume will suddenly appear. This is not entirely true, but many people make the lazy mistake of putting the basses in one group and all their other tracks in another, and on the latter they do a low cut on the group track, so that every track gets the same low cut. I agree that this way you can go really fast and save a lot of CPU power, not to mention avoiding the painstaking work, but this will certainly not bring the desired result, rather it will only function as a band-aid in an open wound that should be properly sewn up.

Do it the right way

Let’s see how to do it right. To avoid excessive thinning, examine each strip individually and treat it accordingly. In the case of a main melody we don’t want to completely thin it out so that it only exists above 300hz, because when we filter it nicely, in a drop it will carry too less information as it will become so quiet. As a result, it also loses its intimacy, as our ears needs the lower freqs for this synesthesia but these psychoacoustic phenomena will be discussed in another article.

In order to be able to make a good decision, it is necessary to accurately determine the slope of a well chosen EQ curve and the working point. We have to do this for each track, so that depending on their role and musical function, different settings will be appropriate. In addition, tone and pitch are also very important. If we take the time and do the work honestly, our mix will reward our patience and perseverance with a beautifully articulated and proportionate deep range.
Sometimes we will not find the right cutting points for the first time, so if we are not completely satisfied with the overall picture, it is worth restarting from the beginning and try to pay even more attention, while keeping the concept in mind, especially examining the relationships as we modify our channels.

Learn more

As we can see, low cutting of the bass is only the beginning of a professional and successful mix, but this is only the entrance to the adventurous world of frequency separation techniques. If you want to learn and develop this skill to a professional level, you have to practice a lot.

With my one on one classes You can even learn through your own music, but I can also send you homework. Online education focused only on your needs at your own pace without restrictions. No need to pay a large amount upfront, just buy the number of lessons you want: https://slidemastering.studio/online-analyzis/