Bedienungsanleitung Yamaha 01X (Seite 50 von 156) (Englisch)

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Mixing Tutorial

01X Owner’s Manual

Before Using Basics Section AppendixGetting Started Reference

EQ Library

The four-band EQ gives you comprehensive control over

the tonal quality of the sound, yet unless you have a lot of

mixing experience, you may be unsure just how and when

to use EQ.

This is where the EQ Library comes in handy. It gives you

forty different preset EQ settings for a variety of common

recording applications. These include speciﬁc instru-

ments—even speciﬁc drums, such as bass drum and

snare—as well as vocal applications and various guitar

sounds.

Pick a preset that comes closest to your particular applica-

tion and see if it works. If it needs tweaking, change the

settings until you get the sound you want — you can then

save your custom settings to one of the available memory

space (see pages 36, 54).

The 01X features a variety of Libraries — Dynamics,

Scene, Patch, Channel and Effect — containing custom

settings for the mixer. The operations (selecting presets,

editing, saving, etc.) are the same for all the Libraries. For

details, see page 54.

● Hints on using EQ

• In general, cut rather than boost. For example, if you

want to make a sound brighter, try cutting the bass

ﬁrst. This will not only emphasize the higher frequen-

cies, overall it will give you a cleaner mix.

•We recommend that you use the HPF on every

sound source in your mix, except for kick drum, bass

guitar and synth bass. This will take out those bass

frequencies you don’t need to hear, and give the

ones you want to hear more sonic room—and make

them sound more crisp and punchy.

•You might also want to do the opposite — put LPF on

bass sounds to cut out unnecessary highs. Be care-

ful to use your ears, though. You may rob a great

sounding bass of its character by doing this (for

example, slap bass or standup acoustic bass).

• Here’s an engineering trick you may want to try. If

there is some sound in a recorded track that bothers

you, such as a buzz or a high-pitched whistle-like

noise, you may be able eliminate it with the careful

use of EQ. Set Q to a relatively narrow value (0.80 or

less) and boost the Gain at or near the maximum.

Then, with the track playing, slowly adjust the Fre-

quency value until the offending sound is heard loud

and clear. Now, reduce the Gain until the noise dis-

appears and the track sounds the way you want it.

You can also use this trick— especially with the mid

frequencies—to improve any instrument or vocal

track that doesn’t sound quite right (but you’re not

sure why).

• Remember that the frequency parameter for all of the

EQ bands is FULLY adjustable. This means you can

use the ‘LOW’ EQ band as a second HIGH EQ, or

vice versa—or even use all four bands on the high

frequencies.

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