Breland Michael

songwriter▫️audio engineer▫️atlanta, ga ▫️▫️ 1/2 of @griffxbre ▫️ @ breland.michael on ig

[Breland Michael @BrelandMichae1]

A lil something for PARTY OFF, just released Friday 🔥 #indiemusic #hiphop #NewMusic

[Simply AJ aka Tom Bombadil @SimplyAJ144]

This laugh track annoys me so much but Jesus was like “don’t play with me let’s go” 😂😂😂

[Dear Self. @Dearme2_]

Real talk.

[Trust God Brah @trustgodbrah]

Amen !!!

[The Adventurous Soul @TAdventurousoul]

25 Pictures with Deep meaning 🧵

1. Just enjoy it

[Dear Son. @DearS_o_n]

Dear son, Keep going >>>

[Shabnam Parveen @shabnam_774]

11. All roads lead to Rome

[BiG LD @Schaleea]

Do I have the potential to become your next favorite rapper? 👀

[dru @andrewkelly747]

I need yall to bump this at disrespectful levels today 🔥🔥🔥🔥🔥

[Breland Michael @BrelandMichae1]

@AmarMonroe Understandable - though I do float in and out of X… glad I saw this post lol! Always gonna support 💪🔥

[dru @andrewkelly747]

We went crazy at the top of 2024 with this one 😮‍💨😮‍💨😮‍💨

[Breland Michael @BrelandMichae1]

@mindsetmachine For a split second I thought that was Willem Dafoe when he had his beard grown out 😂 lol

[Nathaniel W. @natemixing]

🎚️ Make low end louder without increasing level.

To increase the perceivable amount of low end without actually turning it up, saturate your kick/bass with second and third harmonics. For example, "Analog" mode in Ozone Exciter does exactly that.

That's a psychoacoustic trick and it utilizes how our brain processes harmonics. Give it a try.

@natemixing

[BiG LD @Schaleea]

a masterpiece 🦋
SWEET - BiG LD

[dru @andrewkelly747]

AILEEN

an album by Dru Kelly & Stix

OUT NOW EVERYWHERE // links below

[Ahmed/The Ears/IG: BigBizTheGod 🇸🇴 @big_business_]

Lil Wayne drops a new verse on Cordae's single Saturday Mornings

[Boyfifty @boyfifty]

Looking for some fire artists to work with 👀 send me some music!

[Nathaniel W. @natemixing]

🎚️ Golden EQ rule.

You can't change one frequency without affecting other frequencies in no way. You should always remember that. You change the balance of frequencies. But there is even more to that.

Equalizing a sound isn’t just about adjusting its tonal balance; it’s about understanding how changes to one frequency band influence the perception of others within the same sound. Frequencies are interconnected, both physically and psychoacoustically, meaning that boosting or cutting one range often alters how the rest of the sound is perceived. To equalize effectively, it’s crucial to anticipate these shifts and manage them carefully.

Low Frequencies and Their Broad Impact

The low-frequency range (20–250 Hz) forms the foundation of most sounds, giving them a sense of weight and power. Boosting this range can make a sound feel fuller and more present, but it often affects higher frequencies. For example, increasing bass frequencies may overshadow the clarity in the midrange or highs. This happens because low frequencies dominate the overall energy of a sound, potentially masking the finer details.

A practical solution is to use a shelving or bell curve EQ to control the low end carefully. Instead of boosting aggressively, try a modest lift to maintain the warmth without overwhelming other ranges. If clarity is lost, consider complementing the boost by subtly reducing low-mid frequencies (200–400 Hz) to prevent the sound from becoming muddy.

On the other hand, cutting low frequencies can reduce muddiness and make the sound cleaner. However, this can also make the sound feel thinner or less anchored. To address this, add a slight boost in the upper mids or highs to restore a sense of presence and detail while maintaining a clean low end.

Midrange: The Balancing Act

The midrange (250 Hz–4 kHz) is where the core character of most sounds lies. Adjustments in this range tend to have a cascading effect on the perception of both the low and high frequencies. For example, boosting the low mids (300–600 Hz) adds warmth and body, but excessive boosting can muddy the sound and obscure the upper mids, making it harder to discern details like vocal intelligibility or the attack of instruments.

A useful approach is to use broad EQ curves for gentle enhancements, as overly narrow boosts can introduce a boxy or nasal quality. If the mids feel cluttered, carefully removing problem frequencies with a narrow cut can make space for other characteristics to emerge naturally. For instance, cutting around 400 Hz can reduce muddiness and allow the higher frequencies to sound clearer without additional adjustments.

Similarly, excessive cutting in the midrange can make the sound feel hollow or disconnected. In these cases, adding a slight low-end boost or enhancing the high mids (2–4 kHz) can help restore a natural balance and ensure the sound remains engaging.

High Frequencies and Perceived Clarity

High frequencies (4 kHz and above) contribute to the brilliance, airiness, and presence of a sound. Boosting this range can make a sound feel brighter and more defined, but it can also create harshness or emphasize noise. For instance, increasing frequencies above 8 kHz may enhance the “air” of a vocal but could also exaggerate sibilance, making the sound unpleasant.

To address this, use a gentle high-shelf EQ rather than a narrow boost. This approach provides a broader, smoother enhancement that avoids harshness. If sibilance becomes an issue, applying a de-esser or dynamic EQ specifically targeting the problem frequencies (often 6–10 kHz) can tame these unwanted effects without sacrificing brightness.

Cutting high frequencies, on the other hand, can make the sound darker and less detailed. This might be desirable for some sources, such as taming harsh cymbals, but it often shifts the listener’s attention to the lower frequencies, altering the overall tonal balance. To counteract this, consider slightly enhancing the upper midrange (around 2–4 kHz) to retain clarity while keeping harshness under control.

What Does All That Even Mean?

Every EQ adjustment should be approached with the understanding that frequencies are not isolated. Changing one part of the spectrum affects the others, either by altering the harmonic balance or by shifting the listener’s perception of what is emphasized. For instance, boosting the lows on a piano might make the highs seem quieter, even though they haven’t been adjusted. This interplay demands a thoughtful and iterative approach to equalization.

A good practice is to make small, incremental changes and continually listen to how the adjustments influence the entire sound. Comparing the adjusted sound with the unprocessed version can help identify unintended tonal shifts. Regularly referencing professional mixes or using tools like spectrum analyzers can also provide guidance and ensure that changes are enhancing the sound rather than compromising it.

In summary, equalizing a single sound requires a delicate balance between technical adjustments and artistic judgment. By understanding how frequency bands interact within the sound itself, you can make smarter choices that enhance the tonal quality while preserving clarity and coherence.

@natemixing

[Pogo @OfficialPogo]

Eleven's voice turned into chords #StrangerThings

[Pogo @OfficialPogo]

Album is up. Happy listening! https://t.co/giBJKYQVzh Artwork by @lemonaught