Basically. :lol:*adjusts glasses* You know, there's no one-size fits all when it comes to EQing and mixing... *proceeds to explain how all the settings listed are wrong*
I totally get the appeal, because in theory at least you'd think the ability to "visualize" the frequency concentrations of a sound would be both something new that didn't exist 25 years ago, and potentially a new source of information that could be incorporated into your workflow to provide new insights and an improved mix.I'm pretty shit at mixing myself but I'm getting better and learning to use my ears more, instead of going for a certain EQ curve look. I understand the intent of the guide; it gives you a ballpark association of certain sound characteristics, which is fine. Sadly, many people (ESPECIALLY youngsters) will simply refuse to use their ears and rely on visuals and arbitrary frequency bands. This way of thinking plagues "modern ""metal""" bands in particular, because they just want presets for basically everything. preset guitar tones, bass tones, drum sounds, EQ, Mastering, etc. I've heard so so many honky, muddy mixes because they heard their favorite engineer do something, and imitated to a T.
Man, this, so much. I've been doing a recording project with my dad and uncle that typically has both piano and acoustic guitar on a track, and one of the things I learned in a hurry from the first session or two we did was that the best way to tackle a song was to play through it as a group, and then try to figure out collectively which instrument was the "core" one to the song. If it was a piano-driven song, then keep the acoustic guitar parts simple and mixed back, and if it had a busy acoustic guitar as the primary accompaniament, then keep the piano simple (at least, until any solo sections), and in addition in a couple cases we found "electric piano" sounds tended to work a lot better since they had a less pronounced attack. Songs that drove me crazy the first time we recorded them, in a couple cases where we scrapped them and started over, came together a LOT faster once we all agreed what the "main" accompanying instrument (because, let's be honest, all of this is secondary to the vocal) and what was the supporting one.The better you plan your arrangements ahead of time, the easier your mixes will be and the more you can just let the instruments' natural sound stay relatively unaltered. Bass guitar is probably the biggest exception to that, since it's always going to pile up with kick drums and the low end of a distorted rhythm guitar.
Doubling, actually, could be kind of effective. The problem I had is that my uncle likes writing busy-but-quiet-and-not-really-in-time fingerpicking parts, while my dad likes to kind of improv piano accompaniament in more of a melodic fashion than a "comping" one, so the upshot is left to their own devices there's a whole bunch of notes going on at once, and they're not always the same ones and usually slightly out of sync. :lol: I'm gonna turn this into a good sounding project, but the process just may kill me. :lol:Piano and acoustic guitar are tough to match up together. I'd generally avoid having them play in the same register, and certainly not doubling parts.