The intensity, complexity and energy of performance, combined with the power and density of the tones involved are characteristics of the extreme metal genre. These characteristics present numerous problems when striving to achieve the clarity, definition and hyper-realism of performance required for this genres production. Avoiding masking in a mix is a fundamental aspect of clarity, definition, intelligibility and perceived loudness and due to the fact that masking especially occurs in a dense mix, and is more pronounced in low frequencies, is particularly applicable to mixing the downtuned extreme metal genre. Masking in simple terms is the ability of frequencies of one sound to obscure or inhibit (i.e. mask) the frequencies of another sound. This paper will draw upon the first author’s eight years of experience producing within the metal genre, including releases through Sony and Universal and working with the likes of Colin Richardson and Andy Sneap.
|Title of host publication||Heavy Fundamentalisms|
|Subtitle of host publication||Music, Metal and Politics|
|Editors||Karl Spracklen, Rosemary Hill|
|Publication status||Published - 1 Feb 2010|
Mynett, M., Wakefield, J., & Till, R. (2010). Intelligent Equalisation Principles and Techniques for Minimising Masking when Mixing the Extreme Modern Metal Genre. In K. Spracklen, & R. Hill (Eds.), Heavy Fundamentalisms: Music, Metal and Politics (pp. 141-146). Inter-Disciplinary Press.