The Six Elements of A Mixing （mixing的六大元素）

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Balance – the volume level relationship between musical elements .
    平衡－各音乐元素之间的音量关系。

. m* M$ n3 ]: q0 DFrequency Range – having all frequencies properly represented .
    频率范围－合理安排所有的频率。

. W6 j% t4 f% c5 e8 oPanorama—placing a musical element in the sound field .
8 B9 y* z, f# Q5 b, w& n7 U6 d    Panorama－在声场里面安置好所有的音乐元素。
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Dimension – adding ambience to a musical element.
    空间－为音乐元素加入环境气氛（通过REVERB/DELAY等等）。
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3 S$ H5 X& V3 K  F8 V9 b. k$ \& {- [Dynamic-controlling the volume envelopes of a track or instrument
动态处理－用于控制录音的音量保络。
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Interest – making the mix special .
( z& h, I+ g: a- l2 e; G5 G% p( T    创意－让你的混缩变得与众不同。


* d7 F4 r" I* U" |- A+ y0 LMany mixers have only four or five of these when doing a mix , but all of these elements must be present for a great mix of a hit mix , as they are all equally important.
很多mixer在mix的时候只是做了这里的其中4到5步，但一个优秀或者流行的MIX必定会出现上面述说的所有元素，因为他们在mix中都同样重要。

$ x0 C, ~; w1 W/ B: g7 r0 y7 V: GIn music requiring simple recreation of an unaltered acoustic event ( Classical or Jazz or any live concert recording ), it’s possible that only the first four elements are needed to nave a mix be considered great . Dynamics and Interest have evolved to become extremely important elements as modern music has evolved.
    如果是简单的运用未曾改变的声乐乐器演奏中（例如交响乐、Jazz、或者任何的现场录音），就可能之需要前面的四个元素就可以得到一个非常好的MIX了。而在现代音乐中，动态处理和创意就称为众多元素中显得最为重要。

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- D0 C# Y# k& r+ `4 u3 ~# x8 lOne: Balance.（第一元素：平衡）
The most basic element of a mix is balance . A great mix must start here first ; for without balance  the other mix elements pale in importance . There’s more to balance than just moving some faders , though , as we’ll see.
3 m4 C  R$ u) U8 D. @   MIX中最基础的元素就是平衡。一个优秀的MIX必须从这里开始；如果不作Balance这一步，那么其他MIX元素都会变得黯然失色。而Balance就是推动推子。


THE ARRANGEMENT – WHERE IT ALL BEGINS(编排——所有的开始)

Good balance starts with good arrangements .its important to understand arrangement since so much of mixing is subtractive by nature . This means that the arrangement ( and therefore the balance ) is changed by the simple act of muting an instrument that doesn’t fit well with anther . if the instruments fit well together and don’t fight one another , the mixer’s life becomes immensely easier . But what exactly does ‘fighting one another,’ mean?
  x9 _: W) J3 D5 f0 w优秀的平衡处理开始于优秀的编排。而明白编排是鉴于mixing中所出现的自然衰减情况而作出的处理，这是非常重要的。这个意思是编排（当然也是平衡处理）就是在乐器互相步配合的情况下，对某些乐器进行信号抑制。如果乐器之间非常融洽而且不与其他乐器有所抵触，那么这个MIX工程就变得非常简单了。那么什么才是‘与其他乐器有抵触’的真正意义呢？（这里我只是翻译了大意）
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& q, k# V  `4 ^# C: D: RWhen two instruments with essentially the same frequency band play at the same volume at the same time , the result is a fight for attention . Think of it this way ; you don’t usually hear a lead vocal and a guitar solo at the same time , do you ? That’s because the listener is unable to focus on both simultaneously and becomes confused and fatigued as a result.
5 C7 S5 V( M$ B, _7 m5 H/ ]& H当然频率差不多的乐器，以及在相同音量相同时间下播放，那么就会发生两个乐器之间频率抵触。想象一下，你不会经常听到主人声和GT SOLO在同一时间播放，你认为呢？这是因为听者不能同时对两个声音都给予关注，而且这个声音最后会让人感觉到疲乏以及烦恼。（这个错误我自己也是经常出现）

' L2 t5 ?  }- V) t6 ]% p) wSo how do you get around instrument “fighting?” First and foremost is well-written arrangement , which keeps instruments out of each other’s way right from the beginning . The best writers and arrangers have an innate feel for what will work in an arrangers , and the result is one that lies together without much help , almost automatically .
* d1 x' B; ?+ f6 n   你如何移除乐器之间得“抵触”呢？作为第一步就是把编排处理好，在开始得时候那些乐器互相之间是正确得，需要保留得，那些是错误得，不能一起演奏得。最好得作曲家和监制都有一种天生的感觉，知道素材需要预先编排，而编排的最后结果就是他们之间没有任何的抵触，不需要任何处理。

But it’s not uncommon to work with an artist or band that isn’t sure of the arrangement or is into experimenting and just allows an instrument to play throughout the entire song . thereby creating numerous conflicts . This is where the mixer gets a chance to rearrange the track by keeping what works and muting the conflicting instrument or instruments . Not only can the mixer influence the arrangement this way , but also the dynamics and general development of the song.
, M  j" `0 a! ~2 c" S0 A7 O    但是没有确定编排，或者还正在实验中，以及至让一个乐器做伴奏是经常出现在为歌手或者乐队做前期工作的情况中的。因此在这个过程中经常会产生出众多的乐器互相冲突的问题。这就是为什么MIXER只要有机会就重新编排录音的轨道，从而决定保留那个轨道是继续工作还是立刻把有冲突问题的乐器（或者几个乐器）给MUTE掉。MIXER不但能通过这个方法影响编排，而且也能影响歌曲的动态和大致的发展方向。

( c# {5 s  }; A% t) TIn order to understand how arrangement influences balance , we have to understand the mechanics of a well-written arrangement first .
: g6 \# _7 z9 T4 |5 o# F9 L5 {    为了了解编排是如何影响平衡处理的，我们首先需要了解优秀编排的结构。
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Most well conceived arrangements are limited in the number of elements that occur at the same time . An element can be a single instrument like a lead guitar or a vocal , or it can be a group of instruments like the bass and drums ，a doubled guitar line , a group of backing vocal , etc. Generally , a group of instruments playing exactly the same rhythm is considered an elements . Examples: a doubled lead guitar or doubled vocal is a single elements, as is a lead vocal with two additional harmonics . Two lead guitars playing different parts are two elements , however . A lead and a rhythm guitar are two separate elements as well.
    许多优秀的编排构思中，在同一时间里面，所出现的元素都是被LIMIT的。一个元素可以是一个单独的乐器，例如主音吉他或者人声，也可以是一组乐器，例如BASS和鼓声，双GT，一组背景人声等等。通常的，一组乐器正确演奏相同旋律的时候，被理解成一个元素。例如，双主音吉他或者双主音都是一个单独的元素，而按照上面说的，一个主音吉他唱出两个和声，也是一个元素。然而，双主音吉他在演奏不同的歌曲部分就是不同的两个元素。一个主音吉他和一个旋律吉他还是看作是两个分离的元素比较好。

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ARRANGEMENT ELELMENTS(乐器得编排元素)
. W: o% v2 [* p! }" iFoundation—The rhythm section. The foundation is usually the bass and drums , but it can also include a rhythm guitar and/or keys if they’re playing the same rhythmic figure as the rhythm section . Occasionally , as in the case of power trios , the foundation element will only consist of drums , since the bass will play a different rhythm figure and become its own element.
7 w$ o9 y; D+ `# ?+ a& NFoundation（基础元素）—音乐得节奏部分。基础元素经常是BASS＋DURMS，但也可以是包括一个节奏吉他或者（或者同时出现）键盘，只要他们都是演奏相同得旋律。有时候，在POWER TRIOS得情况下（POWER TRIOS应该是分别三种乐器得组合），基础元素就只包括鼓声，而BASS就会演奏不同得旋律已经变成独立得元素。

" V: p! a) K( r+ w6 j$ p- b  UPad—A pad is a long sustaining note or chord . in the days before synthesizers , a Hammond organ provided the best pad and was joined later by the Fender Rhodes. Synthesizers now provide the majority of pads , but real strings or a guitar power chord can also suffice .
Pad（衬垫元素）－衬垫元素其实就是一个长时间持续得和音 或者 音符。以前的合成器中，Hammond organ（电子琴得一种）能作出最好的衬垫，以及后来的Fender Rhodes 也是非常好的。 现在合成器为歌曲制造大部分的Pad，但是真弦乐或者一个吉他的和音弦都能做到这一点。
   
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Rhythm—Rhythm is any instrument that plays counter to the foundation element . This can be a double-time shaker or tambourine , a rhythm guitar strumming on the back- beat or congas playing a Latin feel ,.The rhythm element is used to add motion and excitement to the track.
  Rhythm（节奏元素，韵律元素）－节奏元素是所有演奏基础元素的乐器。可以快速的SHAKER(混合器？)或者小手鼓，在BACK-BEAT（倒拍）中使用节奏吉他的STRUMMING(乱弹？？)或者让CONGAS（康加鼓）以拉丁风格演奏，节奏元素就是用来为歌曲带来的动感和激情的元素。
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Lead – A lead vocal , lead instrument or solo.
    Lead－主人声、主乐器或者乐器独奏。
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% |% W, J7 F" w$ M; [4 b. xFills – Fills generally occur in the spaces between lead lines, or they can be a signature line. You can think of a fill element as an answer to the lead.
: T; O" _3 U' [* j7 |7 E/ X# ?Fills（填补元素）－填补元素一般出现在LEAD LINES（主线）之间的空隙，或者成为signature line（这里明白但不会翻译，意思就是有别与LEAD LINES的线吧）。你可以把填补元素理解为一个与LEAD 相呼应的元素吧。
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' r  v' X0 i; ?Ways to Prevent Instrument Fighting（如何接触乐器之间的相互抵触）
1．        Change the arrangement and recording the track(改变歌曲的编排和重新录制某些轨道)
& |+ R3 E* ^4 A' _3 k2．        Mute the offending instruments so that they never play at the same time（同时播放的时候，出现互相抵触的乐器，先让他们MUTE掉先）
3．        Tailor the EQ so that the offending instrument takes up a different frequency space （对互相抵触的乐器，运用EQ对其做频率范围上的修改）
4．        Pan the offending instrument to a different location（这个就是通过改变乐器的PAN来让乐器之间不会出现抵触现象）。
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Typical Mix Starting Places（各种MIX的开始）
1.        From the bass(从BASS开始)
2.        From the kick drum（从地鼓开始）
  s- p$ n, D5 c; B: A# ~9 d5 u' u# F* m3.        From the snare drum（从军鼓开始）
8 ^7 N3 ~1 |, Z2 V4.        From the overheads（从OVERHEADS 开始）
5.        Form the lead vocal or main instrument （从人声或者主乐器开始）
( O( B% [9 f- U5 F/ |" r3 I6.        When mixing a string section , from the highest string (Violin) to the lowest (bass)（当你MIXING一个弦乐组的时候，从高频弦乐（小提琴）到低频（BASS）。

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Element Two : Panorama – Placing the Sound in the Sound field

4 U, ^# x. }  GOne of the most overlooked or take granted elements in mixing is panorama, or the placement of a sound element in the sound field , To understand panorama ,first we must understand that the stereo sound system(which is two channels for our purposes)represents sound spatially . Panning lets us select where in that space we place the sound.
  PANORAMA的名词解释是mixing中最容易被忽略或者最为重视的元素，或者是各个歌曲元素（吉他等等的东西）在声场中所处的位置，为了了解PANORAMA，首先我们必须明白立体声系统（我们的目的是双通道）所表现出来的声音空间。Panning让我们去选择在空间中那里听见声音。
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7 Q% `3 {# ]; `; o. K5 qIn fact , panning does more than just that . Panning can create excitement by adding movement to the track and adding clarity to an instrument by moving it out of the way of other sounds that may be clashing with it . Correct panning for a track can also make it sound bigger , wider and deeper.
实际上，Panning所做的不仅仅是这些。Panning通过改变轨道赋予了歌曲兴奋与刺激，两个乐器在同一声向上，可能会产生冲突，Panning通过改变他们的声向而使乐器变得清晰透明。在轨道上使用Panning能让轨道上的声音变得更大，变得更宽以及变得更有深度。

. n1 x+ f. B  sSo what is the proper way of panning ? Are there any rules ? Well , like so many other things in mixing , although panning decisions may sometimes seem arbitrary , there’s a method to follow and a rationale behind the method as well.
; B. E$ m! R4 N1 n: h    那么怎样才是Panning的正确用法呢？他们有什么规定呢？Well，就像MIXING的其他东西一样，尽管Panning的决定某些时候看起来非常的随意，但最好还是跟随某一方法或者以基础原理为基础的运用Panning。
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Panning in MONO(yes ,that ‘s right)
Don Smith: I check my panning in mono with one speaker , believe it or not . When you pan around in mono , all of a sudden you’ll find that it’s coming through now and you’ve found the space for it . If I want to find a place for the hi-hat for instance , sometimes I’ll go to mono and pan it around and you’ll find that it’s really present all of a sudden , and that’s the spot . When you start to pan around on all your drum mics in mono , you’ll hear all the phase come together . When you go to stereo , it makes things a  lot better.
在MONO的状态下做PANNING (这是对的)
   Don Smith：我在MONO的情况下用一个音像去测试我的PANNING设置，这个方法在乎你的选择，你可以相信也可以不相信。当你的在MONO的时候，你会惊奇的发现，你要调节的对象会穿过其他乐器，为它找到一个合适的空间。举例，当我需要为HI-HAT找一个位置，某些时候我会运用MONO方式，然后慢慢调整PAN的设置，那么你很快就能找到这个HIHAT的合适位置了。当你在MONO的情况下开始为鼓组的MIC调节PAN的时候，你就会听到所有MIC录制声音的相位。调完后，在STEREO的状态下，声音听起来效果就更好了。

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Panning for clarity
) R5 r5 `  O: R7 i1 }  p' S7 OJoe Chiccarelli : Once I have my sounds and everything is sitting pretty well , I’ll move the pans around a tiny bit . If I have something panned at 3:00 and it’s sitting pretty well , I’ll inch it a tiny sliver from where  I had it just because I found it can make things clearer that way . When you start moving panning around it’s almost like EQing something because of the way that it conflicts with other instruments . I find that if I nudge it , it might get out of the way of something or even glue it together.
4 c: H' M' x& T2 A5 |: T, S* N& d  Panning for clarity（清晰）
6 F/ u& y3 ^. p+ T! l" b" g9 T) p   Joe Chiccarelli：当我的声音听起来以及所有乐器都安排得非常好，我就会移动一点点pan。如果我有一个乐器PAN设置为三点钟位置，而且这个位置非常适合它，我就会使他偏离一点，我这样做只是因为我发现这样能使声音更清晰。当你开始对某元素（乐器、人声）做PAN设置，那么它就类似对某元素做EQ调整一样，因为你移动了PAN，乐器之间就会产生CONFLICTS(抵触，找不到合适得用词，暂时这个吧)。我发现，如果我轻轻得移动一下这个乐器（的PAN），那么乐器之间就能减少一点抵触，而且也不会导致乐器之间好像胶水一样～（这是语音访问的稿件，所以比较口语化，所以我这个口语白痴就有点犯傻了）。

   Elemental 3:Frequency Range – having all frequencies properly represented .
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4 Q# D8 c% t) x! |2 x9 l' t8 wThere are three primary goals when equalizing : (应用eq最重要的三个目的)
: P2 a) J0 A' V& N4 H! B1)        To make an instrument sound clearer and more defined
, f+ j; ~; [* ^4 R& W( r2)        To make the instrument or mix bigger and larger than life
3)        To make all the elements of mix fit together better by juggling frequencies so that each instrument has its own predominant frequency range
1)        使得乐器变得更清晰，更明显突出。
- X+ i. \# v  B. Z; n: s2)        使乐器或者MIXING的声音比生活中我们听到的更丰满更具立体感~
1 f" K/ U, l& s5 w& \2 e$ V3)        通过调整乐器之间的频率范围，让所有乐器的排列变得更好更完美。

* v7 Y4 \1 J9 m7 uTo make an instrument sound clearer and more defined （使得声音变得更清晰,更明显）
        Even some sounds that are recorded well can be lifeless , thanks to certain frequencies being overemphasized or others being severely attenuated . More often than not , the lack of definition of an instrument is because of too much lower midrange in approximately the 400HZ to 800HZ area . This area adds a “boxy” quality to the sound .
        即使某些声音在录音上没有问题,但是声音听起来没生命,没动力的,而这些问题的原因就是某一个频率点过度提高或者其他问题引起的过度衰减.在很多时候,因为中频范围中400HZ到800HZ这个范围的频率太低了,导致乐器缺乏清晰度(很难凸现出来).而提高这个区域的频率会让声音听起来更” boxy “ (翻译是矮矮胖胖的,我想是模糊的意思),如果过多就不好了.
# y6 }  S# B1 L' JA)        Set the boost /cut knob to a moderate level of cut (8 or 10dB should work ).
* E3 B6 ]+ {" a# \BOOST(提高)/CUT(衰减) 旋钮设置到一个合适的衰减级别上(例如设置到8dB 或者10dB ).

. ~& S0 ]2 O% I8 l3 P- r' i. EB)        Sweep through the frequencies until you find the frequency where the sound has the least amount of boxiness and the most definition.
. |, \, V0 g' x对整个频率进行扫描,直到你的声音不再模糊了,声音更突出为止.

C)        Adjust the amount of cut to taste . Be aware that too much cut will cause the sound to be tinner.
9 `# }" W3 N: t' A对衰减的数据进行尝试性的调整.你自己要意识到:衰减过多,会导致声音听起来变得THIN(声音边薄).
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& {* c- r* |& }/ M! n* n: pD)        If required , add some “point ” to sound by adding a slight amount (start with only a dB; add more to taste) of upper midrange (1kHz to 4kHz).
如果有需要,对声音的某些中高频(UPPER MIDRANGE,大约1KHZ到4000KHZ之间)的频率点(我猜想这里的”point”是这个意思吧)进行些微的提高(开始的时候1dB,然后可以提高更多).
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" [: W4 w* b  U8 N. o6 w) QE)        If required , add some “sqarkle” to sound by adding a slight amount of high frequencies (5kHz to 10kHz).
4 I' g! M' E0 Q) i(E和D不一定同时存在,看实际情况)如果有需要,对高频(5KHZ~10KHZ)做些微的提高(同样是从1dB开始,然后慢慢提高);

F)        If required , add some “air” to sound by adding a slight amount of the brilliance frequencies(10kHz to 15kHz).
(F,E和D不一定同时存在,看实际情况)对超高频(10KHZ~15KHZ)做些微的提高(同样是从1dB开始,然后慢慢提高),以增加更多的空气感.
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PLEASE NOTE !
5 \5 J( |0 }1 T1 |" v  zAlways try attenuating ( cutting ) the frequency first . This is preferable because all equalizers add phase shift as you boost , which results in an undesirable coloring of sound . Usually , the more EQ you add, the more phase shift is also added and the harder it will be to fit the instrument into the mix .  Many engineers are judicious in their use of EQ . That being said , anything  goes ! If it sounds good , it is good.
4 }0 A* J6 I/ |建议对频率做衰减为第一步.这样做的原因是所有EQ效果器在做增益的时候都有一点的相位偏移产生.而结果就是声音听起来有令人讨厌的声染产生.一般情况下,用EQ做乐队的增益,那么就会产生更多的相位偏移,同样使乐器越难融合到MIX当中.许多工程师都很理智的使用他们的EQ(以衰减为先),他们说:无论你做什么,如果声音是好的,那么你做的调整就是好的.
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* u: o( \/ s8 a, TAlternate method
1)        Starting with your EQ flat , remove ALL be bottom end by turning the low frequency control to full cut .
, E% b& V' i6 g, {9 _; Q在开始得时候,让你得EQ保持平治(归零),然后对低频做低切.
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" w; z1 A$ s5 }0 i2)        Using the rest of your EQ tune the mid-upper midrange until the sound is thick yet distinct .
应用EQ的其他部分对中高频做调整,直到声音有明显的变厚.
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5 s& o5 ~3 k! F" z3)        Round it out with a supporting lower-mid tone to give it some body .
9 K' T& U1 k8 O! `用中低频包围著给予音调一些质感
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5 n7 P, |$ I1 ?7 }& Y6 z  c4)        Slowly bring up the mud-inducing bottom end enough to move air , but not so much as to make the sound muddy.
慢慢提高能导致声音产生MUD(泥泞,这里也能泛指低频)的频率段,提高足够的量,就能去除过多的空气感觉,但提高太多的话,会让声音变得十分溷浊.

5)        Add some high frequency for definition.
3 z* R! a! c7 M; G提高一些高频,使得声音更清晰.
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         Equalize to make the instrument or mix bigger and larger than life （使乐器或者MIXING的声音比生活中我们听到的更丰满更具立体感）

“ Bigness” usually comes from the addition of bass and sub-bass frequencies in the 40Hz to 250Hz range . This will come from a region below 100Hz , a region above 100Hz or both .
* G6 B7 O2 C3 E( P2 `* G（“非常丰满”一般都是来自于对低频以及超低频的提高，范围是40Hz到250Hz。达到这些效果来自于提高100Hz以下的区域，或者提高100Hz以上的区域，又或者需要他们两个区域都要提高。
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- k. ^7 P" q9 k) c- oA)        Set the boost/cut knob to a moderate of boost ( 8 or 10dB should work).
BOOST(提高)/CUT(衰减) 旋钮设置到一个合适的增益级别上(例如设置到8dB 或者10dB ).

B)        Sweep through the frequencies in the bass band until you find the frequency where the sound has the desired amount of fullness.
( Y! D' E7 g) U" H5 [对整个低频频段进行扫频，直到你的声音变得丰满位置。（在低频有一个点能让你的声音变得丰满，这个效果是你所渴望得到的）。

& x* I4 ?( K! T4 ~C)        Adjust the amount of boost to taste . Be aware that too much boost will make the sound muddy.
对增益做一个尝试性的调整，但是你自己要意识到，如果增益太多，那么你的声音就会变得模糊。

0 ^3 \, }8 G0 n0 R' K' ]D)        Go to the frequency either half or twice the frequency that you used in b and add a moderate amount of that frequency as well . Example : if your frequency in b was 120Hz , go to 60Hz and add a dB or so as well . If your frequency was 50Hz , go to 100Hz and add a bit there.
当你找通过扫频找到一个频率点后，还不如你在它的一半或者它的倍数地方进行合适提升来得更好。例如：如果你用扫频找到的点是120Hz，转到60Hz提高一定数值的dB会更好。如过你找到的频率点是50Hz，转到100Hz做一点提高。（这里只限于低频做对象，至于其他频率段，大家可以各自尝试一下）。
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PLEASE NOTE :
- D# ~$ N# f0 I- N7 K1.        it’s usually better to add a small amount at two frequencies than a large amount at one .
一般情况下，对两个频率点进行一小数值的提升是比对只对一点做大数值的提升来得更好。

2.        Be aware that making an instrument sound great while soloed may make it impossible to fit together with other instruments in the mix.
- F; q/ C6 H' e7 ~' n& T; e你要知道，要让一个乐器听起来非常优秀，那么就不可能让这个乐器在独奏的情况下做调整，这样是不可能让这个乐器和其他乐器在MIX中融合的。
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/ u" p1 ]% U  }1 B! }6 zRule of thumb—The fewer instruments in the mix , the bigger each one should be . Conversely , the more instruments in the mix , the smaller each one needs to be in order for all to fit together .
# r" k7 {2 `4 l" ]. J基础理论－少乐器的MIX中，每一个乐器的声音大声丰满。相反的，在很多乐器的MIX中，相对减少音量和丰满的感觉，会让乐器之间的更有融合度。
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) F  N5 P1 G' q4 ]       Equalize to make all the elements of a mix fit together better by juggling frequencies so that each instrument has its own predominant frequency range (通过调整乐器之间的频率范围，让所有乐器的排列变得更好更完美。)
A)        Start with the rhythm section(bass and drums).The bass should be clear and distinct when played against the drums .  especially the kick and snare .
" c% e; g* Q' ?* [: d3 a( p2 b! y由节奏部分（BASS 和 DRUMS）开始。当Bass依傍着DRUMS来演奏，那么BASS的声音就会清晰而且明显。

! w  Y) `. n! L* U$ E0 PEach instrument should be heard distinctly . If not do the following:
每一样乐器都应该听起来清晰明显，不然就按照以下方法进行调整
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1) Make sure that no two equalizers are boosting at the same frequency . If so , move one to a frequency a little higher or lower.
) I, o6 C! y# j6 v+ `确定没有两个EQ在相同的地方做提升增益。假如是在相同的频率，有两个EQ做相同提升，那么移动其中一个点的频率位置高点或者低点。
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2) If an instrument is cut at a certain frequency , boost the frequency of the other instrument at that same frequency . Example :The kick is cut ant 500Hz . Boost the bass at 500Hz.
. j) b- P$ d9 K! k  l6 o如果一个乐器在某一频率点上做了衰减，那么在其他乐器上的相同频率点上做提升增益。例如：KICK 在 500Hz做衰减，那么就在BASS的500Hz上做提升。
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B)        Add the next most predominant element , usually the vocal and proceed as above .
$ V: I$ l/ D! p% u- p; K! W& i根据上面提供的方法（EQ让声音清晰的方法1）和2）），加入下一个最突出的元素，一般情况是人声。
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* x5 T; q  Q& V2 W, Z" s/ sC)        Add the rest of the elements into the mix one by one . As each instrument is added it should be checked against the previous elements as above.
, Y5 ~* G. N9 x7 a: S- _/ U在MIX中，一个一个的加入其余的元素。每一个元素在被加入以后，都要以上述方法（A点）进行检查。（这里为的是让不同乐器的上尽量减少频率抵触）。

- I# b7 D7 }7 M# X& V2 lREMEMBER
1. The idea is to hear each instrument clearly and the best way for that to happen is for each instrument to live in its own frequency band .
& K9 u( B4 d( h# l/ Z4 ^- Z. w让所有乐器听起来清晰以及把声音发挥到最好的方法就是让这些乐器就存在于他们自己所属的频率范围内。

5 a# v* z- V' Y5 u! S( ?2.After frequency juggling , an instrument might sound terrible when soloed by itself . That’s Ok , the goal is that is work in the track.
* N: P! }' k" m" E" F在处理完频率之后，乐器在单独播放的时候，可能非常难听。但这个不重要，他的目标就是在各个轨道中实现到他的目标（只要在多轨中很和其他乐器融合，没有多余的频率抵触就可以了）

还有三个元素，再过几天～～～
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这些文字来自《The Mixing Engineers Handbook》

cymatic

学习！欣赏！:victory::victory::victory: