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COMPLETE EQ SETTINGS TO START WHEN DOING

AUDIO MIXING
 VOCALS (FEMALE)
150HZ LOW SHELF -6DB (REMOVE LOWER BASS ON VOCALS)
3000HZ Q=1.0 +2DB (IMPROVE VOCAL CLARITY AND LYRICS)
15000HZ Q=1.0 +2DB (IMPROVE VOCAL AMBIENCE)
 VOCALS (MALE)
100HZ LOW SHELF -6DB (REMOVE LOWER BASS ON VOCALS)
1000HZ Q=1.0 +2DB (IMPROVE VOCAL CLARITY AND LYRICS)
15000HZ Q=1.0 +2 (IMPROVE VOCAL AMBIENCE)
 BACKGROUND VOCALS (FEMALE)
250HZ LOW SHELF -6DB (REMOVE LOWER BASS ON BACKGROUND
VOCALS)
3000HZ Q=1.4 -6DB (CUT TO MAKE LEAD VOCALS CLEAR WITH
BACKGROUND VOCALS)
12000HZ Q=1.0 +3DB (IMPROVE BACKGROUND VOCAL AMBIENCE)
 BACKGROUND VOCALS (MALE)
200HZ LOW SHELF -6DB (REMOVE LOWER BASS ON BACKGROUND
VOCALS)
1000HZ Q=1.4 -6DB (CUT TO MAKE LEAD VOCALS CLEAR WITH
BACKGROUND VOCALS)
12000HZ Q=1.0 +3DB (IMPROVE BACKGROUND VOCAL AMBIENCE)
 DISTORTION GUITARS
200HZ LOW SHELF -9DB (REMOVE LOWER BASS ON DISTORTION
GUITARS)
400HZ Q=1.0 +3DB (IMPROVE POWER AND BODY OF DISTORTON GUITAR
SOUND)
3000HZ Q=1.4 -6DB (CUT TO IMPROVE VOCAL CLARITY)
6000HZ HIGH SHELF -2DB (CUT TO REMOVE HARSHNESS AND
SIBILANCE)
 DISTORTION SOLO GUITARS (LEAD)
200HZ LOW SHELF -3DB (REMOVE LOWER BASS ON DISTORTION SOLO
GUITRS)
2000HZ Q=0.8 -2DB (CUT TO IMPROVE VOCAL CLARITY)
5000HZ Q=1.4 +1.5DB (IMPROVE BRILANCE HIGH-END ON GUITARS)
7500HZ HIGH SHELF -2DB (REMOVE HARSHNESS AND SINILANCE)
 ACOUSTIC GUITARS OR CLEAN GUITARS
200HZ LOW SHELF -9DB (CUT BASS SOUNDS TO AVOID MUD WITH BASS
GUITAR OR KICK)
800HZ Q=1.4 -6DB (REMOVE IRRITATING HARSH MIDTONES ON SOME
GUITARS)
3000HZ Q=1.0 -9DB (MAKE LEAD VOCALS CUT THROUGH THE MIX)
5000HZ Q=1.4 +2 (IMPROVE BRILLIANCE HIDH-END SOUND ON GUITARS)
8000HZ HIGH SHELF -2DB (REMOVE DISTURBING SINILANCE ON
GUITARS)

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 SOLO GUITARS USED AS A BACKGROUND TO LEAD VOCALS

200HZ LOW SHELF -3DB (REMOVE LOWER BASS ON SOLO GUITARS)
3000HZ Q=0.7 -9DB (CUT FOR VOCAL CLARITY)
5000HZ HIGH SHELF -3DB (CUT TO REMOVE ANNOYING SIBILANCE)

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COMPLETE EQ SETTINGS TO START WHEN DOING

AUDIO MIXING
 ORGAN
2500HZ LOW SHELF -9DB (REDUCE MUSKING WITH TRUMPET, SAX AND
SNARE)
4000HZ Q=1.4 +3D (IMPROVE ORGAN CLARITY)
7000HZ HIGH SHELF -6DB (REDUCE MUSKING WITH CYMBALS AND HI-
HATS)
 PIANO (LEAD)
200HZ LOW SHELF -6DB (CUT TO AVOID MUD WITH BASS)
800HZ Q=1.0 +3DB (IMPROVE PIANO LEAD CLARITY)
3000HZ Q=1.4 -6DB (CUT TO IMPROVE VOCAL CLARITY)
 PIANO (RHYTHM WITH BASS)
200HZ LOW SHELF -9DB (CUT TO AVOID MUD WITH BASS)
500HZ Q=1.0 +2DB (IMPROVE PIANO RHYTHM WITH BASS CLARITY)
2000HZ Q=1.4 -6DB (CUT TO IMPROVE VOCAL CLARITY)
 VIOLIN (LEAD AND RHYTHM)
200HZ LOW SHELF -3DB (CUT TO AVOID MUD RITH BASS)
500HZ Q=1.4 +2DB (IMPROVE VIOLIN LEAD AND RHYTHM CLARITY)
3000HZ Q=1.4 -9DB (CUT TO IMPROVE VOCAL CLARITY)
6000HZ Q=1.4 +2DB (IMPROVE BRILLIANCE HIGH-END SOUND ON
VIOLIN)
 TROMBONE BASS
100HZ LOW SHELF -9DB (REDUCE MUSKING WITH BASS AND KICK
DRUM)
200HZ Q=1.4 +3DB (IMPROVE TROMBONE BASS CLARITY)
300HZ HIGH SHELF -6DB (REDUCE MUSKING WITH TRUMPET, SAX,
SNARE, AND ORGAN)
 TRUMPET
300HZ LOW SHELF -9DB (REDUCE MUSKING WITH KICK DRUM AND
TROMBONE BASS)
450HZ Q=1.4 +3DB (IMPROVE TRUMPET CLARITY)
600HZ HIGH SHELF -6DB (REDUCE MUSKING WITH SAX, SNARE, ORGAN
AND HI-HATS)
 SAXOPHONE
600HZ LOW SHELF -9DB (REDUCE MUSKING WITH KICK DRUM,
TROMBONE AND TRUMPET)
800HZ Q=1.4 +3DB (IMPROVE SAXOPHONE CLARITY IN THE MIX)
1000HZ HIGH SHELF -6DB (REDUCE MUSKING WITH SNARE, ORGAN AND
HI-HATS)
 SAX AND BRASS INSTRUMENTS
SAX FREQUENCY RANGE
SOPRANO SAXOPHONE 225HZ – 1000HZ
ALTO SAXOPHONE 125HZ – 900HZ
TENOR SAXOPHONE 110 – 630HZ
BARITONE SAXOPHONE 70HZ – 450HZ

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BASS SAXOPHONE 55 – 315HZ

BRASS TOP
TRUMPET © 170HZ – 1000HZ
TRUMPET (F) 300HZ – 1000HZ
ALTO TROMBONE 110HZ – 630HZ
TENOR TROMBONE 80HZ – 600HZ
BASS TROMBONE 63HZ – 400HZ
TUBA 45HZ – 375HZ
VALVE HORN 63HZ – 700HZ

COMPLETE EQ SETTINGS TO START WHEN DOING

AUDIO MIXING
 CYMBALS AND HI-HATS 1:2
7000HZ LOW SHELF -9DB (REDUCE MUSKING WITH TROMB, TRUMPET,
SAX AND ORGAN)
12000HZ Q=1.4 +3DB (IMPROVE CYMBALS AND HI-HATS CLARITY)
 CYMBALS AND HI-HATS 2:2
2000HZ LOW SHELF -3DB (CUT TO REMOVE HARSHNESS)
12000HZ Q=1.4 +2DB (IMPROVE BRILLIANCE SOUND OF CYMBALS)
 CRASH CYMBAL (THIS IS THE CYMBAL THAT WILL BE HIT HARD BY THE
DRUMMER)
500HZ LOW SHELF/HIGH PASS -6DB (REMOVE HARSH METALIC SOUND)
(1000HZ OR 2000HZ IF METALIC SOUND IS STILL THERE TO MAKE SOUND NICE)
3000HZ Q=1.4 -3DB (CUT TO IMPROVE VOCAL CLARITY)
12500HZ Q=1.0 +3DB (IMPROVE CRASH CYMBAL CLARITY)
 RIDE CYMBAL (THIS IS THE SOFT SOUND OF THE CYMBAL)
500HZ LOW SHELF -6DB (REMOVE HARSH METALIC SOUND)
3000HZ Q=1.4 -3DB (CUT TO IMPROVE VOCAL CLARITY)
10000HZ Q=1.0 +3DB (IMPROVE RIDE CYMBAL CLARITY)
 OPEN HI-HAT (THIS GIVES CRASH SOUND OF THE HI-HAT)
500HZ LOW SHELF/HIGH PASS -6DB (REMOVE HARSH METALIC SOUND)
(1000HZ OR 2000HZ IF METALIC SOUND IS STILL THERE TO MAKE SOUND NICE)
3000HZ Q=1.4 -3DB (CUT TO IMPROVE VOCAL CLARITY)
12500HZ Q=1.0 +3DB (IMPROVE OPEN HI-HATS CLARITY)
 PEDAL HI-HAT (SOFT EQUIVALENT OF OPEN HI-HAT)
500HZ LOW SHELF -6DB (REMOVE HARSH METALIC SOUND)
3000HZ Q=1.4 -3DB (CUT TO IMPROVE VOCAL CLARITY)
10000HZ Q=1.0 +3DB (IMPROVE PEDAL HI-HATS CLARITY)
 SNARE 1:2
1000HZ LOW SHELF -9DB (REDUCE MUSKING WITH TROMBONE,
TRUMPET AND SAX)
1750HZ Q=1.4 +3DB (MAKE SNARE SOUND CLEAR)
2500HZ HIGH SHELF -6DB (REDUCE MUSKING WITH ORGAN AND HI-
HATS)
 SNARE 2:2
100HZ Q=1.4 +2DB (INCREASE BODY SOUND OF THE SNARE)
2000HZ Q=1.4 -6DB (REDUCE FOR VOCAL CLARITY)
8000HZ Q=1.0 +3DB (IMPROVE THE CLARITY OF THE SNARE STRING)
 HEAVY SNARE WITH CRISPY SNARE STRING SOUND

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100HZ Q=1.0 +3DB (INCREASE BODY OF THE SNARE)

2000HZ Q=1.4 -6DB (REDUCE FOR VOCAL CLARITY)
8000HZ Q=1.0 +3DB (IMPROVE THE CLARITY OF THE SNARE STRING)
 DOMINANT AND CRISPY SNARE SOUND
200HZ Q=1.0 -3DB (CUT TO REMOVE LOWER BASS TO AVOID MUD WITH
KICK DRUM)
8000HZ Q=1.0 +3DB (IMPROVE THE CLARITY OF THE SNARE)
DOMINANT AND CRISPY SNARE SOUND IS ONLY RECOMMENDED FOR INSTRUMENTAL MUSIC
SINCE 2000HZ – 3000HZ FREQ RANGE ARE NOT CUT. THE SNARE WILL DROWN AND AFFECT
VOCAL CLARITY.

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COMPLETE EQ SETTINGS TO START WHEN DOING

AUDIO MIXING
 KICK DRUM 1:2
75HZ Q=1.4 +3DB (IMPROVE CLARITY OF KICK DRUM)
100HZ HIGH SHELF -9DB (REDUCE MUSIKING WITH TROMBONE BASS)
 KICK DRUM 2:2
50HZ Q=1.4 -6DB (CUT TO IMPROVE BASS GUITAR CLARITY)
100HZ Q=1.4 +9DB (IMPROVE KICK DRUM CLARITY)
400HZ Q=3 -9DB (REDUCE CARDBOARD SOUND AND IMPROVE KICK
DRUM BASS)
 KICK DRUM (COUNTRY MUSIC)
50HZ LOW SHELF -3DB (CUT TO IMPROVE BASS GUITAR CLARITY)
80HZ Q=1.0 +6DB (IMPROVE KICK DRUM CLARITY)
 BASS GUITAR (COUNTRY MUSIC)
150HZ LOW SHELF -6DB (CUT TO IMPROVE KICK DRUM CLARITY)
200HZ Q=2.0 +3DB (IMPROVE BASS GUITAR CLARITY)

MIXING BASS GUITAR LIKE PROFESSIONALS

 KICK DRUM 1:2  BASS GUITAR 1:2
50HZ LOW SHELF -3DB 100HZ Q=2.0 -9DB
100HZ Q=2.0 +9DB 250HZ Q=2.0 +3DB
250HZ – 400HZ Q=2.0 OR Q=3.0 -
9DB
 KICK DRUM 2:2  BASS GUITAR 2:2
50HZ Q=1.4 -9DB 50HZ Q=1.4 +9DB
100HZ Q=1.4 +9DB 100HZ Q=1.4 -9DB
250 Q=2.0 -9DB 250HZ Q=2.0 +9DB
400HZ HIGH SHELF 400HZ HIGH SHELF

 TOM-TOM (MID)
100HZ LOW SHELF -6DB (CUT TO REMOVE MUD WITH BASS)
200HZ Q=1.4 +3DB (IMPROVE TOM-TOM CLARITY)
1000HZ Q=1.0 +0.5DB (IMPROVE TOM-TOM BODY AND BRILLIANCE)
 TOM-TOM (FLOOR)
100HZ LOW SHELF -6DB (CUT TO REMOVE MUD WITH BASS)
150HZ Q=1.4 +3DB (IMPROVE FLOOR TOM CLARITY)
500HZ Q=1.4 +1.5 (IMPROVE FLOOR TOM BODY AND BRILLIANCE)
 CONGA AND BONGO
50HZ LOW SHELF -6DB (REMOVE CONFLICTING FREQUENCIES WITH
BASS DRUM)
200HZ Q=5.0 +3DB (IMPROVE CLARITY)
400HZ Q=7.0 +3DB (IMPROVE POWER AND BODY)
700HZ Q=5.0 +3DB (IMPROVE BRILLIANCE TO CUT THROUGH THE MIX)
2000HZ OR 3000HZ Q=1.0 -6DB (CUT FOR VOCAL CLARITY)

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COMPLETE COMPRESSION SETTINGS WHEN

DOING AUDIO MIXING
 SNARE 1:2  VOCALS
ATTACK : 5MS ATTACK : FAST
RELEASE : 10MS RELEASE : 0.5MS OR AUTO
COMP RATIO : 2.0:1 COMP RATIO : 2.0:1 – 8.0:1
THRESHOLD: -30.4 COMP RATIO : 4.0:1 – 10.0:1
(ROCK VOX)
KNEE : HARD THRESHOLD: -20DB
SCAN MODE : RMS KNEE : SOFT
 SNARE 2:2  LEADS
ATTACK : 20MS ATTACK : 80MS
RELEASE : 40MS RELEASE : 40MS
COMP RATION : 5.0:1 COMP RATIO : 2.3:1
THRESHOLD: -12DB THRESHOLD: -20DB
KNEE : HARD KNEE : SOFT ORHARD
 KICK DRUM  PADS AND STRINGS
ATTACK : 0MS OR 40MS ATTACK : 2MS – 5MS
RELEASE : 1000MS OR 80MS RELEASE : 0.5MS OR AUTO
COMP RATIO : 2.8:1 OR 5.6:1 OR COMP RATIO : 8.0:1
6.0:1
THRESHOLD: -20DB THRESHOLD: -20DB
KNEE : HARD KNEE : SOFT OR HARD
 BASS GUITAR  ELECTRIC GUITAR
ATTACK : 40MS ATTACK : 2MS – 5MS
RELEASE : 80MS RELEASE : 0.5MS OR AUTO
COMP RATIO : 6.0:1 COMP RATIO : 8.0:1
THRESHOLD: -20DB THRESHOLD: -20DB
KNEE : HARD KNEE : HARD
 GUITARS  CYMBALS AND HI-HATS
ATTACK : 15MS ATTACK : 8MS
RELEASE : 15MS RELEASE : 50MS
COMP RATIO : 5.0:1 COMP RATIO : 4.0:1
THRESHOLD: -20DB THRESHOLD: -20DB OR -25DB
KNEE : HARD KNEE : HARD
 TOM-TOM, CONGA AND  ACOUSTIC GUITAR
BONGO
ATTACK : 1MS ATTACK : 5MS – 10MS
RELEASE : 30000 ÷ 120BPM RELEASE : 0.5MS OR AUTO
: = 250MS COMP RATIO : 5.0:1 – 10.0:1
COMP RATIO : 2.5:1 THRESHOLD: -20DB
THRESHOLD: -18DB OR -20DB KNEE : SOFT OR HARD
KNEE : HARD

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 COMPLETE COMPRESSION TIPS TO KNOW

WHEN MIXING

 CONTRO  DEFINATION  SETTING

LS RANGES
O THRESHO  THE LEVEL WHERE THE DEPENDENT ON
LD COMPRESSOR STARTS REDUCING INPUT
VOLUME

O RATIO  THE STRENGTH OF THE VOLUME LIGHT : 1.0:1 –

REDUCTION
O ATTACK  HOW LONG THE COMPRESSOR
TAKES TO REACH FULL GAIN
REDUCTION AFTER AUDIO
CROSSES THRESHOLD
 FAST ATTACKS PUSH DOWN
PEAKS
 SLOW ATTACKS PUSH DOWN
TAILS
O RELEASE  HOW THE COMPRESSOR TAKES
TOLET GO OF THE COMPRESSION
 A FAST REALESE ALLOWS AUDIO
TO RECOVER QUICKLY
 A SLOW RELEASE MAKES AUDIO
RECOVER SLOWLY
4.0:1
MED. : 4.0:1 – 8.0:1
HIGH : 8.0:1 – 20.0:1
FAST : 0MS – 15MS
MED. : 15MS – 50MS
SLOW : 50MS –
200MS
FAST : 0MS – 15MS
MED. : 15MS – 50MS
SLOW : 50MS –
200MS

O KNEE  SMOOTHS OUT THE TRANSITION HARD : 0DB – 2DB

FROM NO COMPRESSION BEING MED. : 2DB – 5DB
APPLIED TO FULL COMPRESSION SOFT : 5DB – 25DB
BEING APPLIED
 SOFT KNEES ARE OFTEN USED
ON VOCALS OR PIANO TO MAKE
COMPRESSION SOUND NATURAL
 HARD KNESS CAN MAKE
COMPRESSION SOUND MORE
INTENSE

 TWO MOST COMMON USES OF COMPRESSION

1. ACCENTUATE PEAKS (AKA ADD PUNCHINESS)
2. REDUCE PEAKS (AKA EVEN OUT, THICKNEN)

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COMPLETE TYPES OF REVERB AND SETTINGS

FOR 3D MIXING
 REVERB TYPES OR ALGORITHM

O ROOM REVERB  VOCALS

 DRY VOCALS
O PLATE (METAL) REVERB  SNARE DRUMS
 BRASS INSRUMENTS
E.G TRUMPETS AND
TROMBONES
 HAND PERCUTIONS
E.G SHAKERS AND
TAMBORINES
 SYNTHS (WILL ALSO SOUND
GOOD)
O HALL REVERB  ACOUSTIC INSTRUMENTS
E.G PADS AND STRINGS
BE VERY CAREFUL ABOUT HAVING
TOO MUCH OR THE MIX WILL BE
CLOUD UP(MUDDINESS)
O CHAMBER (ECHO)  OCHESTRA INSTRUMENTS
REVERB  E.G VIOLIN AND CELLO
O SPRING REVERB  VOCALS
 ELECTRIC GUITARS
 WOOD INSTRUMENTS

 REVERB 3D MIXING (STEREO WIDTH)

 DRY  WET  3D GROUND SIMULATIONS

LEVEL % LEVEL %
80% 20%  FRONT GROUND
65% 35%
50% 50%  MIDDLE GROUND
35% 65%
20% 80%  BACK GROUND

 FRUITY CONVOLVER REVERBS I RECOMMEND

LEX – ROOM (BRIGHT-WARM)
METAL (SURFACE)
EVNT – TOWN HALL (STAGE)
CAVE (CHAMBER)
SPRING 12
 VOCAL REVERB SETTINGS RECOMMENDED FOR BEGINNERS AND
PROFESSIONALS

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ROO DECA EARLY STER HIGH LOW DAM DIFF DRY WE

M Y REFLECT EO FREQ FRE P T
SIZE ION WIDT Q
H
10% 2400M 60% +100 6000H 400H 80% 100% 70% 30%
S Z Z
ALWAYS E.Q YOUR REVERBS FOR A WARM, RICH AND CLEANER SOUND. THIS
WILL HELP YOU AVOID HAVING AN UNCLEAN MIX AND IT WILL IMPROVE YOUR
MUSIC QUALITY.

COMPLETE PANNING SETTINGS FOR 3D MIXING

 INSTRUMENTS AND THEIR PANNING POSITIONS (STEREO WIDTH)

 INSTRUME  POSITION  COMMENT

NTS AND %
KICK DRUM CENTER 0% BASS HEAVY INSTRUMENTS,
SUCH AS THE KICK, SHOULD
BE KEPT NEAR THE CENTER AS
TO NOT DISRUPT THE
BALANCE OF THE TRACK.
SNARE CENTER 0% THE SNARE REINFORCES THE
RHYTHM OF A TRACK AND
THEREFORE SHOULD BE SET
AROUND THE CENTER.
TOMS LEFT OR RIGHT ONE TOM TO THE LEFT AND
50% THE OTHER TO THE RIGHT
HELPS BALANCE THE UP THE
MIX. BEWARE IF TOMS ARE
SET TOO WIDE THEY CAN BE
VERY DISTRACTING AND
OVER-POWERING IN THE MIX.
HI-HATS LEFT OR RIGHT HI-HATS CAN BE PANNED
30-40% FLEXIBLY AS THEY EMIT HIGH
FREQUENCIES AND DO NOT
DISRUPT THE BALANCE TOO
MUCH.
OVERHEADS LEFT OR RIGHT OVERHEADS ARE BEST
50% PANNED FAIRLY WIDE BUT
SHOULD NEVER BE TOO LOUD
AS TO DISTRACT THE
LISTENER.
BASS GUITAR CENTER 0% BASS HEAVY INSTRUMENTS,
SUCH AS BASS GUITAR,
SHOULD BE KEPT NEAR THE
CENTER AS TO NOT DISRUPT
THE BALANCE OF THE TRACK.
RHYTHM GUITAR LEFT OR RIGHT IF THE RHYTHM GUITAR HAS
20-30% BEEN DOUBLE TRACKED PAN
THE TWO TRACKS HARD LEFT
AND HARD RIGHT.
ACOUSTIC LEFT OR RIGHT IF THE ACOUSTIC GUITAR HAS

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GUITAR 50% BEEN DOUBLE TRACKED OR

RECORDED IN STEREO PAN
THE TWO TRACKS HARD LEFT
AND HARD RIGHT.
PIANO (STEREO) FOR A STEREO RECORDING OF
LEFT OR RIGHT THE PIANO, PAN THE TWO
60-80% TRACKS LEFT AND RIGHT. IF
(MONO) RECORDED IN MONO TRY
PANNING JUST OFF CENTER.
LEFT OR RIGHT
30-40%
STRINGS LEFT OR RIGHT WIDE PADS AND STRINGS
60-80% HELP TO REALLY OPEN UP
ATRACK.
VOCALS CENTER 0% VOCALS SHOULD GENERALLY
BE KEPT DEAD CENTER,
ALTHOUGH THERE ARE MANY
STEREO TECHNIQUES WHICH
SHOULD NOT BE
OVERLOOKED.

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COMPLETE EQ SETTINGS FOR MASTERING

 MASTERING EQ SETTING
30HZ LOW CUT (DO THIS ONLY IF IT SOUNDS TOO MUDDY ON THE SUB
FREQUENCY RANGE)
70HZ Q=0.8 +1.3DB (THIS WILL BOOST THE BASS GUITAR FREQUENCIES)
100HZ Q=2.0 +1.3DB (THIS WILL BOOST THE KICK DRUM)
200HZ Q=1.4 -0.5DB (REMOVE MUDDINESS OF BASS GUITAR
FREQUENCIES)
3000HZ Q=1.4 +1.0DB (THIS WILL BOOST THE VOCALS)
13500HZ Q=1.0 +1.2DB (BOOST TO SUPPORT HI-HATS, CYMBALS AND
VOCALS)
 EXCITER
+4.7DB
+6.3DB TUBE
 LIMITER DYNAMIC PUNCHY SETTINGS
ATTACK 3.1MS
RELEASE 44MS
LOOKAHEAD 0.73MS
TRANSIENTS 61%
TRANSIENTS RELEASE 75%
LUFS -9(CD)

X
Mahlatse Ngwasheng [Gen-Frox]
Producer & Mixing Engineer

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