1. Using an EQThe rule for equalizers — and then for other effects, in general — is listen carefully and don't drink too much.When your channel sounds good when you participate in it solo, and when very easy obstruct other channels within the mix, then it will not ought to be given an EQ.
The reasons for EDM is rhythm, so start from there. Use a high-pass filter to quickly attain clarity on kick drum or bass, by cutting everything below 40-50 Hz — this rule also applies to a total mix! To stress the low-end, generate a shelving boost of around 80-100 Hz. This is another frequency that may be important for your bass line, which is the reason many producers use side-chain compression, so that the bass and kick drum is often heard clearly at the exact same time.
If your mix sounds too “boomy” or “muddy”, you should consider decreasing the range around 200-250 Hz.The number between 300 and 600 Hz can sound a bit “boxy” in the event you boost it, so be careful with that. If you would like your bass line to get noticed, boost its channel around 700-800 Hz.Bringing out your range between 1 and 4 kHz will give presence to your keyboard or synth parts, add clarity to vocals, along with the higher harmonics of your respective kick drum and snare.
Cutting 5 kHz makes your sounds appear more distant, therefore it can be useful if you'd like to achieve that. Boosting this range will always make percussive instruments really stand out. And when you mix vocals, it is likely that, in some stage, you will probably have to cut between 6–8 kHz to cut back sibilance. Everything above 10 kHz adds “air” to the channels or mix.
2. Using CompressionReducing dynamics (the distinction between loud and quiet aspects of the track) may perhaps be what you want to quickly attain with the compressor of choice. After all, it's one of many characteristics of EDM production approach. Compressors are trusted on effect chains of individual tracks, in addition, on final mixes while in the mastering process.
Be cautious with attack and release time — in the event you set your compressor to address fast, you are going to lose some of the transients in your beats. The ratio function serves to make use of how much compression. Such as, in the event you the choice is yours to 4:1, every 4 dB of your respective signal will appear reduced to 1 dB—if your signal reaches over the set threshold.
Don't fret to realize the threshold function; in the event you the choice is yours lacking, it's going to make the “pumping” of your respective track. But maybe that maybe what you need to achieve: excessive compression, which has been considered undesirable in past times, is actually a hugely popular effect in electronic music.
3. Using Spatial EffectsThere won't be rigid rules and dogmas on the subject of using reverbs and delays. It's a matter of your taste. You will be the individual that gets to make a decision types of “reflection” suits your track the ideal, but it is best to have a very important factor under consideration: the spatial effects are generally inserted following your effect chain (after the compressor and/or equalizer).
Play while using “wet/dry” function to make a decision the amount of room, hall or plate reverb you are going to improve the track. If you would like create interesting, rhythmic effects using delay, experiment while using tempo function. When your song is 140 RPM, set the half-tempo or perhaps double tempo (280 RPM) to check out and what will happen.
If you could require VST and AU plug-in packages, check out Waves or FabFilter (in case you haven't already).