Should the high-end peak at the same level as the low end?

[Tinseltopia]

I recently made a track which I'm fairly happy with, but after playing it to a producer who has a few more years experience than me. His main criticism was that the high-end (specifically the hats and crashes) were too piercing. So I mentioned that the main hi-hat was peaking at around -4dB, and he tore me a new one about how the High-end's volume is relative, and -4dB actually feels like a whole lot louder because of it's high frequency

So I guess my main question is: How loud should the high end be, in relation to the mix?

Because right now I have all frequencies in the spectrum peaking roughly 6-3dB and to me that sounds fine on my KRK's. But I don't know if that's how it should be, do most producers do this?

So, could I please ask if you could kindly critique the high end of this track? Specifically at 0:50, and even more so at 1:29

https://soundcloud.com/tinseltopia/the-forest-after-sunset

Thanks

 

[DarkRed]

I recently made a track which I'm fairly happy with, but after playing it to a producer who has a few more years experience than me. His main criticism was that the high-end (specifically the hats and crashes) were too piercing. So I mentioned that the main hi-hat was peaking at around -4dB, and he tore me a new one about how the High-end's volume is relative, and -4dB actually feels like a whole lot louder because of it's high frequency

So I guess my main question is: How loud should the high end be, in relation to the mix?

Because right now I have all frequencies in the spectrum peaking roughly 6-3dB and to me that sounds fine on my KRK's. But I don't know if that's how it should be, do most producers do this?

So, could I please ask if you could kindly critique the high end of this track? Specifically at 0:50, and even more so at 1:29

https://soundcloud.com/tinseltopia/the-forest-after-sunset

Thanks

The ear piercing high end comes from runnig very dynamic sound sources like drums, percussion and guitars through too much master bus brickwall peak limiting, commonly due to including these sound sources in the input to that limiting. This is a common mistake especially among engineers that have not mixed so long and hence have not been able to identify this issue and many times cannot due to their monitoring quality, more experienced engineers will commonly notice it on the thickness of the hi-hats or acoustic guitars that is way too harsh. The solution is to treat these more sensitively during recording, mixing and mastering. That sensitivity is required for great resonances/emotion.

When you are pushing the mix like this you can reduce ear piercing by filtering the incoming frequencies cumulatively around 200 Hz and 4 kHz. It becomes sweet when you master both techniques and learn to achieve balance between the two balancing techniques.

Furthermore, do not pan these sound sources too far to the sides, if you want them harder panned to the sides, make them soft/sensitive enough. Check this during mixing readiness so that you can return to recording when you have ended up with the wrong frequencies on these sound sources. Try to make mixing and mastering as easy as possible by fixing issues like these during the recording process.

 

[waltzmastering]

I'd forget about using frequency/spectrum analyzers and meters to balance your mix.

They will give you misleading information and there's no one size fits all kind of thing.

The main thing relative to peaking is that no channel or plug hits the red/zero dBfs.

You have to learn your speakers and learn to trust your own judgement with regard to balance.
It takes time and if the system/room that you are using isn't great, you're left to checking it on multiple systems/car/whatever to see if
it's where you want to be. It needs to sound good at moderate levels and when it's cranked. gl

I recently made a track which I'm fairly happy with, but after playing it to a producer who has a few more years experience than me. His main criticism was that the high-end (specifically the hats and crashes) were too piercing. So I mentioned that the main hi-hat was peaking at around -4dB, and he tore me a new one about how the High-end's volume is relative, and -4dB actually feels like a whole lot louder because of it's high frequency

So I guess my main question is: How loud should the high end be, in relation to the mix?

Because right now I have all frequencies in the spectrum peaking roughly 6-3dB and to me that sounds fine on my KRK's. But I don't know if that's how it should be, do most producers do this?

So, could I please ask if you could kindly critique the high end of this track? Specifically at 0:50, and even more so at 1:29



Thanks

 

[crimsonhawk47]

I'd forget about using frequency/spectrum analyzers and meters to balance your mix.

They will give you misleading information and there's no one size fits all kind of thing.

The main thing relative to peaking is that no channel or plug hits the red/zero dBfs.

You have to learn your speakers and learn to trust your own judgement with regard to balance.
It takes time and if the system/room that you are using isn't great, you're left to checking it on multiple systems/car/whatever to see if
it's where you want to be. It needs to sound good at moderate levels and when it's cranked. gl

Agree 100%. The only thing I find spectrum analyzers are good for is helping me refocus what you're listening to. Like when a mix has a lot going on and you know there are sounds you just aren't picking out with your ear. A spectrum analyzer can make you say "oh, I didn't notice that weird high end spike there, but now I'm hearing that subtle shaker." I don't do incredibly technical work that others might do, and those other people probably use analyzers, but that's less about mixing and more about specific things, like Post work for movies or radio. Frequencies peak differently anyway, so it makes no sense to try to flatten the spectrum of your songs out.

 

[DarkRed]

Frequencies peak differently anyway, so it makes no sense to try to flatten the spectrum of your songs out.

It depends on the peaks whether they are the result of noise having built, common for instance when you have acoustic issues both during recording, mixing and maybe even during mastering, or not. But I do agree that many times the peaks just are the harmonics of the natural tones and can in many cases also be boosted to further harmonize the mix. You can sweep the frequencies to find out whether it is more a rumble type of sound or wheter it is more the natural tone of sound sources. Personally I use spectrum analyzers a lot.

 

[MarcDHall]

Frequency spectrum things are basically useless. Level meters aren't much use either except to know how close to clipping you are getting. If you decide something is wrong because an analyzer looks wrong you are making a mistake. If it sounds right it's right.

As for loud high end: it's just a matter of experience. Human ears are adaptable. Just like how we can see in the dark, or get used to fog with time. Our ears can hear past what's really there and make it sound right. As a beginner this is on max all the time. As a result you tend to not notice major issues. You just have to get used to listening objectively rather than subjectively. It's just practice. Having it pointed out to you is probably a good starting point.

 

[DarkRed]

Frequency spectrum things are basically useless.

Not for me.

 

[MarcDHall]

So long as listeners listen with their ears rather than watching your music on a spectrum analyser a spectrum analyser is basically a distraction. There is no such thing as a correct spectrum shape.

They are useful for speeding up very obvious problems, like locating an obvious harsh frequency, where you could do it by ear but want faster results. Beyond that the look of a dancing spectrum tells you nothing useful about a track. Most of the time they are a distraction... probably a dangerous one because it stops you using your ears. Dancing meters are bad enough without spectra jumping around.