EQ Cheat Sheet For Over 20+ Instruments

11/29/2017 EQ Cheat Sheet for Over 20+ Instruments :: Abletunes Blog
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FREEBIES TIPS TUTORIALS
EQ Cheat Sheet for Over 20+ Instruments

Tips
Equalization (or “EQing”) is an essential process to a great sounding mix and knowing how to do it right will
definitely make your mixes sound better.
When it comes to EQing it’s very important to know the main frequency ranges and how they sound. For
examples if you hear that bassline sounds muddy, that’s going to be somewhere in 150Hz – 500Hz range; if the
vocal sounds harsh – apply cut somewhere in the 2.5KHz to 4KHz range.
The easiest way to learn these frequency ranges are EQ charts and we’ve made a huge EQ chart for you to
learn and grow as a producer. If features general charts that can be applied to any instrument and mix, and you CATEGORIES
will also find EQ charts for almost all common instruments – from drums and vocal to acoustic guitar and
trumpets. Freebies Tips
Keep in mind that these frequency charts are just the starting point and you don’t have to follow them exactly. Tutorials
Not all guitars, synths and vocalists sound the same, every track has its own context and unique characteristics
so use these charts as a starting point and adjust according to your sounds and mix.
These charts are from our new plugin called EQ Wise+, an eightband parametric equalizer with builtin Abletunes
31.220 aprecieri
interactive instrument frequency charts to help you EQ better. Check it our here.
GENEAL CHART I Îmi place Pagina Cumpără
SUB BASS 060 Hz
Most sounds in this frequency range more felt than heard. Be careful while mixing here as too much sub bass Fii primul dintre prietenii tăi căruia îi place asta
can make your mix sound muddy. Cutting everything below 2545 Hz is a standard practice to reduce the
rumble and preserve headroom. Avoid boosts here.
BASS 60250 Hz
The fundamentals of kick and bass are centered in this area. Boost 100180 Hz range for more punch. Boost
140225 Hz to add warmth and fullness. Don’t overdo as boosting too much will sound boomy.
LOW MIDRANGE 250 – 500 Hz
This range is usually called the bass presence range. Try a slight boost at around 300 Hz to add clarity to the
bass and low frequency instruments. Too much in this range make things sound muddy and boomy, while too
little make them sound thin.
MIDRANGE 500 – 2000 Hz
Boosts in this range can make an instrument prominent in the mix. Be careful while mixing here as too much of
5001 kHz can make your instrument sound muddy, and too much of 12 kHz can create a tinny sound.
HIGH MIDRANGE 26 kHz
This is where you’ll find the attack tones of percussive and rhythm instruments. Instruments that struggle to cut
https://abletunes.com/blog/eqcheatsheet/ 1/10
through the mix may be adjusted here for more presence. Excess here can cause listener fatigue. 46 kHz
range is responsible for clarity and definition.
HIGH FREQUENCIES 620 kHz
Boosting this range can add extra air and sparkle to your instrument or mix. Excess in this area can cause
undesirable listener fatigue and create an extremely shrill tone. Too much boost around the 68 kHz range tend
to sound sibilant.
GENEAL CHART II
RUMBLE / SUB BASS 060 Hz
Most sounds in this frequency range more felt than heard. Be careful while mixing here as too much sub bass
can make your mix sound muddy. Cutting everything below 2545 Hz is a standard practice to reduce the
rumble and preserve headroom. Avoid boosts here.
BOTTOM 60100 Hz
This is where the bottom or “chest punch” of the bass and kick drum lies. Boost 23 dB within 6090 Hz range
with a low Q setting if more energy is needed, but don’t overdo it.
BOOM / WARMTH / MUD 100450 Hz
Boost 100170 Hz range for more punch. Boost 130220 Hz to add warmth and fullness.
Check 250450 Hz range for mud, boost to bring fullness. Too much energy in the 100450 Hz range make
things sound muddy and boomy, while too little make them sound thin.
HONK 450 – 1000 Hz
You may eliminate many of the harsh, “honky” and boxy characteristics of the tone with a centered, wide cut in
the 4501 kHz range. By making cuts on some instruments you can bring more clarity to the bass within the
overall mix.
TINNY 1 – 2 kHz
Too much in the 12 kHz range make things sound tinny or hornlike. You should be careful boosting here,
especially on vocal tracks. Excess in this area can cause undesirable listener fatigue. Boost at 1.41.5 kHz can
improve the intelligibility of bass and piano.
CRUNCH 2 – 4 kHz
This is where you’ll find the attack tones of percussive and rhythm instruments. Instruments that struggle to cut
through the mix may be adjusted here for more presence. Excess in this area can cause undesirable listener
fatigue.
PRESENCE 4 – 6 kHz
The 46 kHz range is responsible for clarity. Boosts here can add edge to electric guitars and drums. Make sure
to check the 56 kHz range for sibilance. Boost in the 47 kHz range can also add air.
DEFINITION 6 – 10 kHz
Try boosting at around 6 kHz to add more definition to vocal and guitar tracks. Boosts in this range can add
edge to synths, string instruments and drums. Too much boost around the 58 kHz range tend to sound sibilant.
AIR 10 – 20 kHz
Boosting this range can add extra air and sparkle to your instrument or overall mix. Excess in this area can
cause undesirable listener fatigue and create an extremely shrill tone. Cut frequencies above 18 khz to reduce
hiss noise.
DRUMS
• 808 BASS DRUM
LOWEND 040 Hz
Highpass 2040 Hz range with the steepest slope filter to preserve headroom and get rid of subsonic
frequencies. 2448 dB steep slopes work perfectly for the task with default Q setting engaged.
BOTTOM 5060 Hz
Boost 23 dB within 5060 Hz range with a low Q setting if more energy is needed, but don’t overdo it. Keep an
eye on the meters as boosts in this range increase levels quickly. Use Output slider for gain compensation
when needed.
BODY/SMACK 100200 Hz
Try low Qfactor boosting within 100200 Hz range to get some extra punch. Be careful of other bass sounds
such as basslines that normally get most of their sonic content in the same frequency range. Careful octave
planning of your arrangement will help to minimize frequency conflicts.
MUD/BOXINESS 200500 Hz
Sweep 250500 Hz band with Q set high enough to get 68 dB of gain resulting in a resonant peak. Tweak the
band knob while listening carefully – frequencies that sound most dissonant should be attenuated carefully.
KNOCK/CLICK/ATTACK 24 kHz
Check 24 kHz range if more click is needed. Stay within moderate 23 dB boosts with bell EQ curve. High shelf
and tilt curves will also work for this purpose as well.
• 909 BASS DRUM
LOWEND 040 Hz
Highpass 2040 Hz range with the steepest slope filter available to cut subsonic content and preserve
headroom 243648 dB slopes work perfectly for the task (keep Q factor set by default 0.71)
BOTTOM//WEIGHT 70100 Hz
Boost 23 dB with wide Q within 70100 Hz if more presence is needed, but don’t overdo it. Try narrower Q with
more resonance for extra prominence. Keep an eye on the meters, boosts in this range increase levels quickly,
so be ready to adjust levels.
KNOCK/ATTACK 24 kHz
Check 24 kHz range if more click needed. Stay with moderate 23 dB boosts with bell EQ curve. High shelf and
tilt curves will also work for the purpose as well.
PRESENCE 58 kHz
Try boosting 58 kHz range with high shelf curve if more presence is needed. Keep watch on the 812 kHz band
though, as boosting there may add hiss.
• DANCE BASS DRUM
LOW END 040 Hz
Highpass 2040 Hz range with 48 dB filter slope. Getting rid of subsonic content here preserves headroom. 24
48 dB slopes work perfectly for such task (keep Q factor set by default 0.71).
ENERGY 40100 Hz
This is where you’ll find the most energy and sub power. Check 4050 Hz for excessive energy. Boost 40100
Hz to add bottom. Manage this band of frequencies very carefully.
BODY/PUNCH 100200 Hz
Try low Qfactor boosting within 100200 Hz range to get some extra punch. Be careful of other bass sounds
such as basslines that normally get most of their sonic content in the same frequency range. Careful octave
planning of your arrangement will help to minimize frequency conflicts.
Boosts here can add presence.
PRESENCE/CLICK 515 kHz
Try boosting within 58 kHz range if more presence is needed, use moderate Q. You can find the click sound of
the attack around the 415 kHz range, a peaking band works well here.
TONE 1020 kHz
Boosts here can add sharpness. Lower this range to make kick drum sound darker. Reduce 1415 kHz to soften
excess sharpness and make the sound warmer.
• ACOUSTIC BASS DRUM
LOW END RUMBLE 040 Hz
Highpass 2040 Hz range with 48 dB filter slope. Getting rid of subsonic content here preserves headroom. 24
48 dB slopes work perfectly for such task (keep Q factor set by default 0.71).
BODY/WEIGHT 90145 Hz
This range is the body and meat of the kick sound. Boost 23 dB with wide Q within 90145 Hz range if more
presence is needed. Keep an eye on meters, boosts in this range increase levels quickly so you may want to
compensate for it.
Mud mostly resides within 250350 Hz range.
KNOCK/ATTACK 24 kHz
Check 24 kHz range for the extra attack. Stay moderate with 23 dB bell curve boosts (high shelf and tilt EQs
will work nicely as well). Working on this area provides a “bouncing basketball” type of ‘thwack’ tone.
AIR/CLICK 48 kHz
Try boosting 58 kHz range with high shelf curve if more presence is needed. Keep watch on the 812 kHz band
though as boosting there may add hiss. You can find the click sound of the beater up around the 38 kHz range,
a peaking band works well here.
• TOM
Highpass carefully from 70 Hz upwards but don’t overdo, as you may thin out the sound too much.
THUMP/BODY 100300 Hz
Boost 100300 Hz range to add weight. Don’t overdo as boosting too much will sound boomy. While it depends
on the actual tuning of the drum, you should be careful while mixing here as too much can make your toms
sound muddy, while too little can create a thin tone.
ATTACK 35 kHz
This is where you’ll find the attack tones from the drumstick hitting the head of the drum itself. Boost 34 kHz for
extra bite.
PRESENCE/AIR 512 kHz
Boost 34 dB within 69 kHz band to accentuate stick hits.
23 dB high shelf boost within 512 kHz range will bring extra air and presence.
• SNARE
Highpass carefully from 100 Hz upwards. 1224 dB steep highpass filters may be used. Use your ears and
choose what sounds best.
BODY 200400 Hz
This is the central area of sound in most snare drums. Most fundamental characteristics live somewhere inside
of this range. Boost 23 dB with wide Q within this range to make the snare sound heavier.
RING 250600 Hz
This range is responsible for the alltooundesirable “ringing” or hollow tone of the snare. Search within 250
600 Hz range for it. Sweep the band with a resonant peak, attenuate unpleasant sounding frequencies with
narrow Q cuts.
BANG/SMACK 24 kHz
Boost some decibels at 2 kHz for more, boost 24 kHz range slightly for extra bite and attack.
AIR/DEFINITION 610 kHz
Boosting 46 kHz range brings more air. If is still sounds off, boost 710 kHz range slightly as that should bring
extra definition. The cracking sound made by the stick on the drum head is often around 8000 Hz.
• CYMBALS: HATS, RIDES, CRASHES
LOW END 0200 Hz
Highpass 100200 Hz to get rid of unnecessary low end.
GONG/CLANK/CHINK 200400 Hz
Highpass up to 400 Hz to get rid of “gong” sounds. Boost 200300 Hz range slightly for more “chink” but don’t
overdo – as it may sound muddy.
AIR/BRIGHTNESS 615kHz
Sweep from 6 kHz upwards to find the “tsss” part of the sound and boost slightly when done for more air.
Attenuating 10 kHz range will reduce harshness while boosting 1415 kHz will bring more brightness, but be
careful as too much can create an extremely shrill tone.
LIVE INSTRUMENTS
• ELECTRIC BASS / BASS GUITAR
Highpass 3070 Hz range to get rid of subsonic content and save headroom.
BODY/GIRTH 80200 Hz
Allows the listener to feel the power of the bassline as most of the energy that sustains from the bass strings
resides here. To accentuate, boost moderately with wide Q starting from 80100 Hz. Basses that sound boomy
may be cleaned up around 180200 Hz.
MUD 250500 Hz
Mud mostly resides within 250500 Hz range. Try attenuating 3 dB at 200220 Hz as a starting point but be
careful not to affect the lowmid girth negatively.
DEFINITION 400800 Hz
This range helps the listener to pick out the melody of the bassline. Boosting 400 Hz will make it more readable
at low listening levels while boosting 700900 Hz range will bring more energy and power.
ATTACK 1.21.5 kHz
Boosting 1.21.5 kHz range will bring out more attack while adding 23 dB at 3 kHz brings out more finger and
fret noises. Try going further up to 5 kHz to check for anything worth boosting. Don’t overdo unless you want the
bassline to dominate the mix.
STRING NOISE 25 kHz
Where the gliding sound of fingers across strings is found. This high frequency can be attenuated to remove
some of the shrill “shwoop” noises caused by playing.
• ELECTRIC GUITAR
Although every case is different, you can usually (safely) eliminate this band with a high pass filter, as there
typically aren’t any useful frequencies down here besides ones that introduce flabby, boomy noise.
BODY/THICKNESS 150300 Hz
Most of the electric guitar’s beefy sound and characteristic live here. Boost 150 to 300 Hz range moderately to
expose more body of the guitar riffs. Be careful to not overrun that part of the spectrum with other instruments. 1
2 dB wide boost should do.
CHARACTER 3001000 Hz
Much of the guitar’s “life” lives in these frequencies. Many of the familiar tones that make an electric sound like
an electric are within here, but play with them carefully, as the snare lives in this band as well.
HONK 12 kHz
You may eliminate many of the harsh or “honky” characteristics of the tone with a centered, wide cut within this
range.
PRESENCE/ATTACK/BRIGHTNESS 310 kHz
Boost around 3 kHz for extra attack on solo guitars but attenuate on riff guitar parts. Attenuate 38 kHz band if
the vocal is present. Boost 1013 kHz range with high shelf for extra brightness.
• ACOUSTIC GUITAR
LOW END RUMBLE 0 – 70 Hz
When mic’ing an acoustic, you’ll often find many of the boomy, explosive lowend tones within this range.
Although a bit of it can add warmth and fullness, it will often cloud up a mix with a full band and can typically be
removed with highpass filter.
WOOD 200400 Hz
This is where the majority of the acoustic’s body lives. Be careful when working in this range, as it’s easy to
flatten the tone and lose its life with too many cuts.
BODY 80400 Hz
Reduce at 200 Hz to remove muddiness. Boost 200400 Hz range carefully to add more weight. Boosts here
can add fullness to solo instruments but may create conflicts in a dense mix, so attenuate here if that’s the case.
WARMTH / FULLNESS 500 – 1000 Hz
Boost 500700Hz to add more warmth and 1kHz to bring more fullness.
DEFINITION 1.5 – 2.5 kHz
The 1.52.5 kHz range is responsible for tiny intricacies in chords and stringpicking, but boosting it too far can
make guitar sound aggressive and harsh.
ATTACK/AIR 710 kHz
A slight shelf boost in this range will help an acoustic sound brighter and airier. Boost around 5 kHz if more
attack is needed and around 7 kHz for some additional sparkle. If it still sounds off, try boosting around 10 kHz
and 12kHz spots to achieve desired result.
• PIANO
LOW END 050 Hz
Highpass 4050 Hz range to get rid of subsonic content and save headroom.
This is an important setting if you mix bass heavy music.
BOOM/MUD/WARMTH 50250 Hz
Mud usually comes from this range. Boost 150250 Hz slightly if you want to warm the instrument up. Boost
around 80 – 120 Hz for fullness.
BODY/MUD 2503kHz
Check 250500 Hz range for muddiness. Try narrow cuts at 2 kHz or 3 kHz to keep a piano from conflicting with
the vocal and guitar tracks.
PRESENCE 35 kHz
Boosting here will brighten the instrument up and add presence. Beware of the string damper noises that
occupy this range unless it’s needed for a creative reasons.
ATTACK 56 kHz
Boost 56 kHz if more attack is needed. Use wide Q values.
CLARITY 79 kHz
Boost 79 kHz to add clarity and breath. Use wide Q values.
SHARP 1015 kHz
Boost the 1011 kHz frequency range to add sharpness, cut to make it sound darker. Reduce 1415 kHz to
soften excess sharpness and make the sound warmer. Check 1013 kHz for piano’s hammer noise and cut with
a narrow Q factor.
• E-PIANO (RHODES)
LOW END 050 Hz
BOOM/MUD 50250 Hz
This range should be taken care of as a priority. Just like the acoustic piano, many of the muddy, boomy sounds
stem from 100250 Hz range. A Rhodes/EPiano has a dense and rich low end which can become muddy very
quickly if not properly cut.
BARK 0.81 kHz
Bark and damper noises could create issues, so search for resonance frequencies and attenuate 8001 kHz
range if this is the case.
PRESENCE 15002500 Hz
Boost 1.52 kHz a bit to add more presence and definition. Use wide Q factor.
ORCHESTRAL INSTRUMENTS
• STRINGS SECTION
LOW END/RUMBLE 050 Hz
WEIGHT/WARMTH/MUD 80300 Hz
Boosting 80100Hz will deliver more weight while 100300 Hz more warmth. Check 200500 Hz with
resonating peak for muddiness.
ATTACK 5001 kHz
Boost 5001 kHz to add more attack, attenuate the same range to soften it.
STRING NOISES/AIR 25 kHz
Tweak 25 kHz range for bringing string noises more to the front if that’s the desired effect.
CREAK/SPARKLE 712 kHz
High shelf boosting of the 710 kHz band brings more creak of the bows while 812 kHz more sparkle and extra
air.
• CELLO
Highpass 6080 Hz to taste.
MUD 200300 Hz
Check 200300 Hz for muddiness, cut it with narrow Q.
FULNESS 400600 Hz
Try boosting 400600 Hz to add more roundness and fullness.
PRESENCE 68 kHz
Boost 68 kHz a bit to add more presence and definition.
HARSH 1420 kHz
Lowpass around 1415 kHz for more distant timber and to reduce harshness if needed.
• VIOLA
Highpass to taste from 100 Hz upwards.
MUD/FULNESS 150250 Hz
Search for mud within 150250 Hz. Boost 180240 Hz band to add more fullness, use wide Q values.
STRING and BOW NOISES/ATTACK 14 kHz
Boost 2.4 kHz for string noise and 4 kHz for bow noise. To enhance the attack, boost 5001 kHz. To soften,
attenuate within the same range.
• VIOLIN
Highpass to taste from 100 Hz upwards to get rid of unnecessary low end and rumble.
MUD / FULLNESS 100 – 250 Hz
Check for muddiness within 150250 Hz. Boost the 200350 Hz range for fullness, use wide Q values.
STRING NOISES / BOW NOISES 2 – 10 kHz
Boost around 2.4 kHz for string noise and 710 kHz if more scratchiness needed.
WOODWINDS
• BASSOON
Highpass from 5060Hz upwards to get rid of unnecessary low end.
MUD 60250 Hz
Carefully cut mud within the 60250 Hz range with a moderate Q.
• CLARINET
Highpass 120140 Hz range to clean up the low end.
MUD 140300 Hz
Check 200300 Hz range for muddiness. Cut with narrow Q factor.
• FLUTE
Highpass up to 200250 Hz.
MUD 250400 Hz
Check 250400 Hz range for mud.
SOFTNESS 24 kHz
Attenuate 24 kHz for softness.
BRIGHTNESS 1012kHz
Try boosting 1012 kHz range with high shelf curve for brightness and presence.
• FLUTE PICCOLO
LOW END RUMBLE/MUD 0300 Hz
FULNESS 5001000 Hz
Slightly boost around 5001 kHz to add more weight.
SOFTNESS 24 kHz
Attenuate 24 kHz for softness.
BREATH 56 kHz
The 56 kHz frequency range can be attenuated to remove some of the airy and breathy sounds.
BRIGHTNESS 1012 kHz
Boost 1012 kHz for brightness if needed. Be careful to avoid making the sound shrill.
• BRASS SECTION
LOW END 0125 Hz
Highpass up to 125 Hz to get rid of unnecessary low end and mud. But don’t overdo, as you may thin out the
sound.
FULNESS/MUD 200500 Hz
Check 200500 Hz range for mud, boost 300400 Hz with a moderate Q to bring fullness.
ROUNDNESS 15 kHz
Boosting around the 8001 kHz spot will add roundness. You can also try boosting at 5 Hz to add a brighter
tone.
BRIGHTNESS / DEFINITION 510 kHz
Manage this band of frequencies carefully. Dark sounding horns can be brightened up and made lively in this
range, but too much can also destroy a mix with shrill and harsh highend. High shelf boost around 58 kHz will
add definition.
• TUBA
LOW END 080 Hz
A tuba has a deep low sound so be careful with low end and cut only when needed.
FULLNESS 6595 Hz
Try a slight boost at around 80 Hz to give the brass track a fuller, or “warmer” sound.
MUD 150 – 250 Hz
Check 150250 Hz range for mud, cut with narrow Q factor.
RESONANCES 450550 Hz
Check 500 Hz range for resonances, cut with narrow Q factor.
• TROMBONE
LOW END RUMBLE / FULLNESS / MUD 0250 Hz
Highpass up to 100 Hz. Boost the 100200 Hz frequency range to add fullness. Attenuate at 100200 Hz if band
overlaps with more important lowmid range instruments. Bass trombone should be processed carefully as you
may thin out the sound too much.
BRIGHTNESS / OVERBLOW 410 kHz
Boost 48 kHz to add brightness. Tweak 810 kHz to accentuate overblow.
• TRUMPETS
Highpass up to 200 Hz depending on the mix.
FULLNESS / MUD 200500 Hz
Check 240500 Hz for muddiness. Boost 180240 Hz for fullness.
BRIGHTNESS 45 kHz
Check 45 kHz for excessive brightness and piercing overtones.
• SAXOPHONE
HONK/MUD 120400 Hz
Depending on the player’s sax, whether it be soprano or baritone, the low mid frequencies may be found here.
The deeper the instrument, the lower the range point becomes. Check 240400 Hz for mud. Boost 120240 Hz
range for fullness.
SQUAWK 12 kHz
Depending on the type of sax used, this range can be responsible for the harsh tones of the instrument – cutting
removes some of the shrillness and painful attack tones.
REED NOISE 57 kHz
The thin piece of vibrating wood, known as the reed, can sometimes make a specific vibration tone. You can
usually find this undesirable sound somewhere near this range. Check 6 kHz for reed noise and cut with a
narrow Q factor.
OVERBLOW 1114 kHz
Slightly boost 1213 kHz range to accent breathing tones / overblow.
ELECTRONIC INSTRUMENTS
• BASS SYNTHS
Highpass up to 6080 Hz to get rid of the subsonic content if genre requires it or if you have a separate sub
bass track.
BODY/PRESSURE 60250 Hz
Boost around 80 – 150 Hz for for more body and weight. Boost around 160 Hz for extra pressure.
MUD / WARMTH 250 – 500 Hz
Carefully cut mud within the 250500 Hz range. Boost 250 Hz to add more warmth. Listen solo’d and in the mix.
PRESENCE 23 kHz
Boost the 23 kHz range to add more presence.
• PAD SYNTHS
LOW END 0 – 160 Hz
Highpass up to 160 Hz according to your sound design concept. Low pass up to 500 Hz to make space for the
bass in dense mixes.
MUD 250 – 450 Hz
Check 250450 Hz range for muddiness. Try 23db cut depending on the mix.
THICK 400600 Hz
THICKNESS. Boosting 400600 Hz range will add thickness. Be careful when layering as this band may get
cluttered easily.
• LEAD SYNTHS
Highpass 80160 Hz to taste and use good sound design judgement.
MUD 160450 Hz
Many synths become muddy in this range and can directly affect the quality of the tone and sound – especially
if multiple synthesizers are layered. Check muddiness within the 250450 Hz range.
CHARACTER 12 kHz
Most attributes of synths can be found here, so cutting or lifting certain frequencies within this range can help it
to either stick out or hide away. Mix as appropriate to the individual synth / patch.
PRESENCE 23 kHz
Boost 12 kHz range to add more grit and to help the instrument cut through the mix.
CLARITY 34 kHz
Just like the guitars and vocals, you can find the exciting, airy tonal characteristics here. Boost 34 kHz range to
add excitement and clarity. Just like the other instruments as well, too much can be shrill and unpleasant.
SHARPNESS 79 kHz
Boost the 79 kHz frequency range to add more sharpness and clarity, use wide Q factor.
VOCALS
Most sounds in this range are garbage, whether it be noise from handling the mic, vibrations from the floor or air
conditioning units. Highpass up to 100120 Hz to clean things up (note that “P” plosives reside around 90
120Hz as a general rule).
MUD 200 – 500Hz
Try 34 dB cuts within the 325350 Hz range on male vocals. Boost at 200 Hz can sometimes add fullness.
Female vocals may run a bit higher in the spectrum, but this is a good starting point to search for boomy tones
that need to be attenuated.
HONKINESS/NASALITY 800 – 1500 Hz
Boosting these frequencies can help make some singer’s lyrics more intelligible. Cuts in 8001,5 kHz range
can reduce honkiness or boxiness. Use narrow Q factor.
PRESENCE 2.5 – 4.5 kHz
You can add energy, buzz and definition to a vocal track right around 3 kHz. It’s important to be careful here as
too much of this band can make vocals actually painful to listen to. Use with care. Try a narrow cut in the 2.5
kHz to 4 kHz range to soften vocals.
CLARITY 510 kHz
Gentle boost in 510 kHz range may add extra presence to a dull vocal. Check this range for sibilance, most de
essers handle this range.
AIR 1016 kHz
To add more air do high shelf boost around 10 kHz but don’t overdo. Let your ears rest and listen to it the next
day to make sure you really need it. Cuts in this range reduce the “s” sound.
WHITE NOISE
LOW END 0 – 500 Hz
Highpass up to 500 Hz according to your sound design concept and mix.
PRESENCE 15002500 Hz
Boost 23 dB with wide or moderate Q within this range to add more presence and character.
BRIGHTNESS 1020 kHz
Boost at 14.5 kHz can add more brightness, use narrow Q. Lowpass around 1718 kHz to reduce harshness if
needed.
All these charts are also available in our plugin EQ Wise+. Check it out here
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TEMPLATES SAMPLE PACKS PRESETS PLUGINS SERVICES CONTACT US Search

FREEBIES TIPS TUTORIALS

GENEAL CHART I Îmi place Pagina Cumpără

• 909 BASS DRUM

• DANCE BASS DRUM

• ACOUSTIC BASS DRUM

• CYMBALS: HATS, RIDES, CRASHES

Mix Tech Series Kick Drum Tuning Free Acoustic Essential Ableton Free Riser Sound

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