![]() ![]() That’s OK though punk rock is supposed to be a little lo-fi anyway. you may have to use a low-pass filter to tame cymbal bleed from the snare mics. Make sure there’s plenty of “crack” in the 2 – 4 kHz range, and a little “snap” around 8 kHz. The snare in a punk track is more about the crack and snap of the upper-mids than a beefy low-end. Add a bit more for hard rock songs, and a little less for any sub-genre that ends in -core. Make sure there’s a little bit of oomph in the low-mids around 200-400 Hz. Start by rolling off the low-end up to 100 Hz, depending on the track. When EQing the snare in a punk mix, you want it to cut through the mix without sounding too harsh. Unless you’re going for a polished, high-fidelity sound, stay out of the 10 – 12 kHz range. Make sure it has plenty of click and attack in the 5 – 8 kHz range. Next, try to emphasize the beater with plenty of mid-range around 1 – 3 kHz. Don’t be afraid to cut around 250 Hz if things get a little muddy. Instead of boosting the lows around 60 Hz like you normally would with a kick drum, make sure your kick has plenty of body in the 100 Hz range. Start by using a high-pass filter to remove any unwanted low-end and make some room for the bass to live. Instead, focus on bringing out the sound of the beater. The kick drum in a punk song tends to move pretty fast, which means it can get a little flabby if you’re too heavy-handed with the low end. So, I’ll be giving you practical tips on how to balance each instrument to achieve the sound you’re going for. There’s a world of difference between old-school garage rock and the polished sounds of mid-2000’s pop-punk. Admittedly, that’s a pretty broad stroke. In this post, I’ll break down my favorite EQ tips for punk rock. But you also don’t want the track to sound too raw, like a demo or a live show. You don’t want the band to sound too polished, like a bunch of corporate sellouts. Mixing punk music can be a delicate balance. ![]()
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