For example, if you had a piano part in the middle, you could use midside eq on the reverb send. Because reverb can frequently compete with the underlying sounds, using mid-side processing on the reverb can help it sit more cleanly in the mix. Reverb is another great place to use M/S EQ. With mid-side EQ, you can use a high-pass filter anywhere from 80 to 250Hz to clean up the stereo information on the side while keeping your center signal low and punchy. Many synth basses have tons of low information on the sides. If you produce electronic music, I highly recommend using mid-side EQ on your synth basses to tighten your frequencies and keep your lows in the middle. If you have doubled guitars panned hard left and hard right, you could dip the low frequencies in the middle using a mid-side EQ to get them out of the way of the bass and kick drum without completely stripping them off the beefy low-end they need to fill the soundscape. However, it’s also the case that the bass and kick still feel present. Listen to modern rock mixes, and you’ll notice that a lot of the low-end comes from the guitars. I often find myself using mid-side EQ in heavy rock or metal mixes too, especially if I need the electric guitars to retain body in the low-end. Instead, you could use mid-side EQ to pull 5-9kHz out of the middle of the cymbals while keeping the side frequencies intact, effectively removing sibilant frequencies out of the way of your vocals. While you could duck anywhere from 5-9kHz out of the cymbals to get rid of that sibilance, you might end up stripping them of all that sizzly goodness that gives them their cymbal quality. The problem might not actually lie in the vocals, but instead, the cymbals that are also playing in the sibilance range. For example, let’s say you have a vocal that feels a bit too sibilant in the mix, though in solo, feels fine. One way I often find myself using mid-side EQ is to create space for the vocals. I'll give you some examples and tips and tricks to help you make the most of this powerful technique! Let's talk a bit about how to get started using Mid-Side EQ. Mid-side EQ can be very handy in this regard. You may want to get rid of this low-end information on the sides while retaining the lows in the middle. For example, you might have a drum loop with a lot of low information on the sides. For example, a mastering engineer might get a simple stereo mixdown, though they want to be able to have independent control over the information in the middle of the mixdown and the side of the mixdown. Mid-side EQ is most beneficial when you’re looking to alter the tonality of the spatial qualities found within a signal. It’s important to note that no form of mid-side processing perfectly separates the middle and sides of the signal, and there will always be a bit of overlap. The side or stereo signal is the difference between the left and right channels. You can think of the mid-channel as the identical left and right channels that make a single, phantom mono signal. The main benefit is that it gives you more control over the stereo image of your mixes and the independent signals within your mixes. With mid-side EQ, you can EQ the middle and side components of a signal independently. Note: this article may contain affiliate links, which mean that I receive a commission for any purchases you make, at no added cost to you. □ This is the best mid-side EQ plugin □
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