Frequency Slotting is the process of assigning a unique frequency to each instrument in the mix.

[Shamir Debnath]

There is one aspect of the recording procedure that is quite monotonous. That is how music gets mastered. You'll have to repeatedly listen to the same song until you're happy with the mix. Then you listen to a duplicate on your car stereo while driving down the road and notice a defect or unwanted characteristic you missed the first 150 times you heard it. Find out the best info about slotxo.

It always seems that just as you think you've done mixing a particular song, you uncover some other flaw and feel the need to go back to the drawing board or, more correctly, the mixing board. As a result, it becomes clear that mixing down a song may be a more extended procedure than recording the music. There is, however, something you can do to speed up the mix-down process and help you produce a superior product. That is the purpose of frequency slotting.

This is known as frequency slotting when you designate a specific frequency range for each instrument. You do this to make it simpler to differentiate one device from another. The mix will sound muddy or congested if all agents are in the same frequency range or slot. Some tracks may even be unrecognizable from one another.

Assume you have five instrument tracks. There are drums, bass guitar, rhythm guitar, lead guitar, and a keyboard track. You can assign a frequency range to each instrument as follows:

The bass guitar's bass can be amplified or filtered with a low pass filter. Doesn't assigning the lowest frequencies to the bass guitar make sense? That was easy enough. Now let's get to the rhythm guitar. Let's give the mid-range frequencies to the rhythm guitar. The high frequencies can then be assigned to the keyboard track. We now have three of the five instruments covered, with little chance of them cutting into each other's frequency range. So we are down to two instruments: the lead guitar and the drums.

The more instruments you have, the more difficult it is to keep them from cutting into each other's frequencies. However, it is still feasible to reduce this. We can accomplish this with the lead guitar track by placing it between the rhythm guitar and the keyboard. As a result, it will mainly occupy some of the mid-range and high-end frequencies.

We now have the drums. The drums might be challenging because several components span the range. First, your bass drum (or bass drums if you have a double bass) will have a more excellent bass tone than the other pieces. You may also have a lot of toms scattered around the spectrum. Your floor tom will have more excellent bass than the smaller tom. There are also snare and cymbals, with the cymbals being on the higher end of the spectrum.

I like to assign the apparent high frequencies to the cymbals and add a touch of reverb to give sustain. The snare is typically played to taste. It could be in the middle or midway between the center and the high range. Individual toms are treated to disperse them out along the spectrum. The bass drum speaks for itself.

You may not have enough tracks available to give each drum set element its way for mixing. If that's the case, you should split it into two forms. That is something I frequently do. I'll give the drums a mid-range slot and the cymbals a high-end slot. It's straightforward, but it works most of the time.

If possible, or if enough tracks are available, assign each piece of the drum set a distinct location from left to right. That would resemble having an actual drum set in front of you. For example, the bass drum, snare, floor tom slightly to the left, crash cymbal somewhat to the right, and ride cymbal slightly to the left might all be in the center. You can even experiment with different versions.

These are some concepts to consider. You do not need to follow the format I just recommended. That is something I would never do. The song itself may define the design. It is preferable to treat each piece separately. This will make distinguishing one element from another easier. Furthermore, not every piece employs the same or a similar number of instruments.

To summarize, consider all of these factors and experimentwith frequency slotting. You might even surprise yourself with the result. Of course, once you've given each track its spot in the spectrum, you'll have your overall EQ to play with. However, that is usually reserved for careful tuning. So give it a shot and best of luck.