Level Adjustment For Optimum Mix - Yamaha MGP12X Owner's Manual

Level Adjustment for Optimum
Mix
Equalizer Tips
The best advice that can be given regarding equalization while
recording is simply to use as little equalization as possible. If you
want a little more presence you can turn the HIGH end up a bit.
Or you can boost the bass a little if you feel the low end is lack-
ing. During recording it's better to use EQ sparingly for compen-
sation only.
 Cut for a Cleaner Mix
For example: pianos have a lot of energy in the mid and low fre-
quency ranges that you don't really perceive as musical sound,
but which can interfere with the clarity of other instruments in
these ranges.
You can basically turn the low EQ on piano channels all the way
down without changing the way they sound in the mix. You'll
hear the difference, however, in the way the mix sounds more
"spacious," and instruments in the lower ranges will have better
definition.
Naturally you won't want to do this if the piano is playing solo.
The reverse applies to kick drums and bass guitars: you can often
roll off the high end to create more space in the mix without com-
promising the character of the instruments. You'll have to use
your ears, though, because each instrument is different and some-
times you'll want the "snap" of a bass guitar, for example, to
come through.
The fundamental and harmonic
of some musical instruments.
Piano
Bass drum
Bass guitar
Guitar
Trombone
20 50 100 200 500 1k 2k
Fundamental: The frequency that determines the basic
musical pitch.
Harmonics: Multiples of the fundamental frequency that
play a role in determining the timbre of the
instrument.
frequency ranges
Cymbal
Snare drum
Trumpet
5k 10k 20k (Hz)
Comp settings
One form of compression known as "limiting" can, when prop-
erly used, produce a smooth, unified sound with no excessive
peaks or distortion. A common example of the use of compres-
sion is to "tame" a vocal that has a wide dynamic range in order
to tighten up the mix. Compression can also be applied to guitar
tracks to add extra sustain. Too much compression can be a cause
of feedback, however, so use it sparingly.
Output
Use the High-pass Filter for Microphone
Input
As the name implies, a "high-pass filter" allows only signals
above a certain frequency to pass. Conversely, signals below that
"cutoff frequency" are attenuated. When an MGP high-pass filter
is turned on, signals below 100Hz are attenuated.
This can be useful for minimizing low-frequency breath noise
from a vocalist, as well as handling noise, or rumble transmitted
via the microphone stand. It is generally a good idea to turn the
high-pass filter on for microphone channels.
Start with the Featured Part
You can start working on a mix from almost any part, but it makes
the most sense to start with the main instrument or vocal. Set up
an initial level for the main part, and then build the rest of the mix
around it.
For example, if you're mixing a piano trio with a vocalist, begin
by setting the level of the vocal track at around the nominal level,
and then gradually add the other instruments. Your choices will
also be influenced by the type of music you are working on. If the
song is a ballad you might want to add the piano to the mix after
the vocal, and then add the bass and drums. If it's a more rhythmi-
cally oriented piece you could add the bass and drums first, and
then the piano. Whatever best serves the music is right.
Making the Most of Your Mixer
0 (Min)
10 (Max)
Input
MGP16X/MGP12X Owner's Manual
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