Some of it’s a matter of experimentation. I suggest intentionally cutting too much so you know what doesn’t sound right and then adding it back in until it does. Personally, I roll off to around the 200Hz mark, using my high-pass filter (HPF), but that can vary based on the other instruments in the band. If I find I’m getting a thicker amount of low-mids then I’ll apply a separate narrow cut in the appropriate area.
The HPF channel-level control allows only frequencies above the specified point to pass through the filter. In analog mixers, the HPF has a set frequency point, such as 100 Hz or it has a knob for controlling the range. If you see a label by a button that reads “/100” then that’s the HPF label indicating a 100 Hz set point. In digital mixers, it’s a flexible point. I usually start at 100 Hz and roll off higher until I get what I need. In rare instances, a high-end analog mixer might have a flexible HPF.
Analog consoles will have less EQ ability so use the HPF for the low-end cut and then listen for anything else that needs to be cut and use the remaining semi-parametric controls to do the rest of the work. Occasionally, an analog console will have individual Q (bandwidth) controls on the EQ’s which would make it a fully parametric EQ, but that’s rare.
Equalization
I look at equalization and “mixing” from this point as a multi-step process that starts with cleaning. I listen to the sound I’m getting from the instrument and where it sits in the mix (in relation to the other instruments) and remove what’s either not necessary or sounds bad.
An example of what’s not necessary is rolling off the lows when I’ve got drums and acoustic bass on stage as mentioned above.
When it comes to the problem areas, you might have a tight frequency that’s giving you problems. You can sweep through the frequencies with a deep cut to reduce a tight band of frequencies.
When it comes to working to emphasize frequency areas of the guitar, consider these areas:
- 150 – 300 Hz
Use to beef-up the tone—helpful when limited instruments are used. - 300 – 600 Hz
Boost to give some low end if the guitar has a thin sound. - 600 – 800 Hz
This is the meaty mid-range in which a boost or a cut can help the instrument depending on what needs emphasized. Remember, when mixing other instruments, you can bring out the sound of one instrument by cutting a key frequency area from another instrument. - 1,000 – 3,500 Hz
These frequencies can push the guitar to the front of the mix and affect note definition. Boost for fingerpicking-style and lead (not rhythm) guitar. - 3,500 – 12,000 Hz
It’s all about the sparkle. This range adds brilliance and can make the guitar jump out. This range can be further broken down into 3.5-5 kHz, 5-8 kHz and 8-12 kHz. Start at the 3.5 to 5 kHz range for adding that sparkle to the acoustic guitar. If you want more, jump to the next range and boost a little there.
Effects
The first things to ask yourself when it comes to effects is, is anything else needed? I find reverb can be helpful but it’s not the only option. I might have an acoustic guitarist who is using on-stage effects to give me a great sound. If that gives me exactly what I need, I don’t add effects, but …
I find the right amount of reverb can bring an acoustic guitar to life, giving it depth in the mix. However, before talking reverb, let’s look at the other effects.
Compression
In general, I don’t compress acoustic guitars. However, there are times it can be beneficial. When the musician is finger-picking a guitar, by adding compression, you can bring out the transient sounds that make up that beautiful richness of a picked guitar—much of which is in the high end.
Gate
This one is tricky and assumes the musician strums at close to the same volume every time—the faster they strum the more likely this is the case. Apply a gate to the main attack as the strum comes through but then quickly gate the sound between strums, not eliminating the sound completely but reducing the volume as this method will bring out the rhythmic element of the guitar.
Reverb
The three common reverb types are room, hall and plate. The primary difference is in how much the reflection time lasts. The bigger the acoustic space in which the effect is modeled, the longer the time of reflection. The benefit of plate is a heavier amount of reverb upfront but with a fast decay time.
