![]() Still, sometimes an element does give us a more stereo feel, and this helps us determine and differentiate various sections of the tune. That the grooving yet balanced stacking of kick, bass, drums, harmonic instruments, multiple vocals, and effects was accomplished largely in mono is a testament to how good the mix is. In the Tonal Balance Control curve above, you can see these elements clearly: the kick around 60 Hz, the snare’s meat around 200 Hz, vocal heft circling around 500 Hz, and vocal cut at 2 kHz. ![]() Still, the notes of this undefined bass are intelligible and don’t conflict with the kick drum. Any high-midrange is ceded, instead, to the crack of the snare, and the vocal (of course). All of the elements have their own place, and while the bass doesn’t sport an overt high-mid definition, you can still hear it quite well. ![]() This is because of the track’s frequency balance. However, if you listen to the tune and then reflect upon it within the playback of your memory, its monaural aspect doesn’t tend to stick with you-it doesn’t feel small, closed in, or pinned down.
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