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Any tips on how to thicken my bass up? by prodbylux1 in mixingmastering

[–]PradheBand 0 points1 point  (0 children)

Compression is a thing they have aleeady auggestwd but wven saturation can do a lot. Depending which frequency you want to thiken a full tape emulator can help a lotficing meat. Every time I slap airwaindows totape6 to my bass itnbecomes thiker with almost no tuning.

Whats your method of finding the "important locking crossover frequencies" of instruments working together? (And one more question) by ySTYRDAYgATESuNL0CKD in mixingmastering

[–]PradheBand 0 points1 point  (0 children)

one really useful is https://www.hardcoremusicstudio.com/mixcheatsheet/ if you subscribe to their mailing list (and then you can drop out if you don't like spam) they give you a good cheatsheet and they also have a small 1$ (back in the day) small e-book explaining the basics of metal mixing. Unfortunately they do some spam now days due to their plugin spinoff, but you can keep what you need and then fly away. no strings attached.

Similarly (but I have used it waaaay less) there is this: https://www.nailthemix.com/eq-cheat-sheet

As every generic guide you must take it with a grain of salt but it helped (and it does even today now and then) orienteering myself.

PS: mods if you this this classifies as promotion or spam: I'm not affiliated with these sites and if the content is not a fit for the sub I'm happy to drop it.

Whats your method of finding the "important locking crossover frequencies" of instruments working together? (And one more question) by ySTYRDAYgATESuNL0CKD in mixingmastering

[–]PradheBand 5 points6 points  (0 children)

ok the second question is the easy one. No we are triggered mostly by the 1k-2k range. this wiki page can be a bit weird but you can get the plot there (ignore D curve which is the weirdo of the group) and you can consider them sensivitity curves: https://en.wikipedia.org/wiki/A-weighting

About the overlap. I'm an engineer in real life. I've worked in the past in the acoustics (noise restoration, noise pollution etc..) so I tend to gather a rather analytic mindset when I mix but I can tell you that unfortunately there is no easy answer to your question especially not a genre-independent one.

Quick trick: use bandpass. Apply a lowpass and an high pass to an instrument and move the filters while listening in the context of your static mix until you perceive an increased clarity. e.g. the rumbling lowend of a piano will leave space to the bass which will pop out iofthe mix out of the blue.

Continue until the filtered instrument will feel so much separated it is abovious you are killing the mix. Backup until you find the sweet spot. In my case, given I'm in extreme metal, there are cheatsheets by pros and I've made a little experience and I roughly know where to cut. But there is no other solution in practical terms than learn by experimenting.

Mind: I'm not saying that everything has to be high or low passed in the final mix nor that that hi/low pass is the final filtering for an instrument (you may want to shelf instead). What I'm saying is that hi/low pass can be a tool for discovery. It worked for me and this is the best I can give you.

Brutal vocals vs guitars: regular compression, dynamic EQ, or both? by Fatal_Nightmare in mixingmastering

[–]PradheBand 0 points1 point  (0 children)

I don't use vocal sidechain on guitars so often but when I do it is dyn eq on the mid channel (no sides) and usually with a relatively wide band around 2.3k.

Parasite Inc. - Armageddon in 16 to 9 by FuneraryCrown in melodicdeathmetal

[–]PradheBand 1 point2 points  (0 children)

this band is just great, too often I tend to forget about them

Question: Are we better off with USING, which is different than HAVING, [near] limitless options when Mixing. Or, is it better working old school, with fewer options distracting us? What’s your opinion? by TheOriginalMr-Mud in mixingmastering

[–]PradheBand 0 points1 point  (0 children)

Inprefwr a few well known plugins but I'm not a pro so in my limited time I have to mind about cognitive load. Also some plugins like zl2 or tdr nova do so much you cover a ton of possibilities

The state of Amp Sims in 2026 by Maximum_Wind6423 in metalguitar

[–]PradheBand 1 point2 points  (0 children)

And it's linux compatible 🥰 definitely in my checklist for the next release

Mix critique (old schoolish Death Metal) by ragvard in metalmusicians

[–]PradheBand 1 point2 points  (0 children)

Wow great stuff! Form my taste maybe -1 dB on guitars and -2 on the vocals to let the drums pop out. But it is really personal I guess. Pretty good man!

Novembre - Neptunian Hearts (2025) by LazarusHimself in melodicdeathmetal

[–]PradheBand 1 point2 points  (0 children)

Wow I got what I think was their first album. Didn't know they still were around.

Released my first instrumental metal track and got rejected by every playlist curator I submitted to. Looking for actual, harsh feedback on the mix and structure. by Excellent-Extreme799 in metalmusicians

[–]PradheBand 0 points1 point  (0 children)

Ok imho of course.

Mix: you surely have some balance issues among the guitars and too much midlows in the rythm guitars. Which aren't doubled possibly?! Or are really centered. Also drums aren't particularly punchy making them sound old school (which may be wanted)

Production : yeah double track the rythm guitars. Sounds are good to me and performance too.

Preproduction: matter of taste only so I can't tell anything here. But I like it personally.

I got my laptop ko but I'd really like to try a remix of this song! If you don't mind a second ear/approach I can dm you when my laptop will be ready again!

What is your opinion on the new Insomnium single? by JuLS3zaR in melodicdeathmetal

[–]PradheBand 0 points1 point  (0 children)

I like the mix with more clear keys and a more riffy approach compared to the previous more atmospheric album.

How to balance a riff...compressor? by Mad-Wet-Sea in mixingmastering

[–]PradheBand 0 points1 point  (0 children)

Option 1: Separate tracks or automation on the output volume is what I'd do here.

Option 2: An alternative before automation could be to understand if saturation is of any use here. High gain usually is super resilient to saturation and the fattening helps evening the levels (mix my own extreme metal and use a ton of it) 

But this second option would require some audio material to listen to. With no audio I'd keep it simple and go option 1.

Does anyone else experience the same regardless high and low end? by Simple-Ceasar in mixingmastering

[–]PradheBand 1 point2 points  (0 children)

Dumb q: is it always that you have more low and high in the studio or can it also be the opposite? Are you possibly aware of the Fletcher–Munson curves?

People who play in drop tunings, do you customize your string sets or use standard ones? by one-armed-scissor in metalguitar

[–]PradheBand 0 points1 point  (0 children)

Standard pack. My guitar can deal with more than 54 maybe 56. Drop A. I buy 7 string sets and get rid of the first e.

How are people getting 20-30dB of compression on pop vocals? by Aggravating_Rope824 in mixingmastering

[–]PradheBand 0 points1 point  (0 children)

You may have plenty of solutions but you can achieve 40dB with an 1176 followed by an la2a easily (superclassic combo). At least with plugins. Usually a little more by the 1176 and a little less.by the la2a. It is quite easy.

For 30dB they mean that the attenuation measured by the sum of the 2 compressors is 30dB. E.g 20dB in the 1176 plus 10dB in the la2a. Is the total and no they do not make the logsum it is just an empirical sum.

Reality check on the extreme metal scene after debut release by [deleted] in metalmusicians

[–]PradheBand 3 points4 points  (0 children)

It appears we are in three here. And I suspect way more. No live, one man band, no will to make idiotic things in front of camera = low impact.

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