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EQ Tips 2
EQ Tips 2
BASS 60-250 Hz
The fundamentals of kick and bass are centered in this area. Boost 100-180 Hz range
for more punch. Boost 140-225 Hz to add warmth and fullness. Don’t overdo as
boosting too much will sound boomy.
Geneal Chart II
RUMBLE / SUB BASS 0-60 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 25-45
Hz is a standard practice to reduce the rumble and preserve headroom. Avoid boosts
here.
BOTTOM 60-100 Hz
This is where the bottom or “chest punch” of the bass and kick drum lies. Boost 2-3 dB
within 60-90 Hz range with a low Q setting if more energy is needed, but don’t overdo
it.
BOOM / WARMTH / MUD 100-450 Hz
Boost 100-170 Hz range for more punch. Boost 130-220 Hz to add warmth and fullness.
Check 250-450 Hz range for mud, boost to bring fullness. Too much energy in the 100-
450 Hz range make things sound muddy and boomy, while too little make them sound
thin.
TINNY 1 – 2 kHz
Too much in the 1-2 kHz range make things sound tinny or horn-like. You should be
careful boosting here, especially on vocal tracks. Excess in this area can cause
undesirable listener fatigue. Boost at 1.4-1.5 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 4-6 kHz range is responsible for clarity. Boosts here can add edge to electric
guitars and drums. Make sure to check the 5-6 kHz range for sibilance. Boost in the 4-7
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 5-8 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
LOW-END 0-40 Hz
Highpass 20-40 Hz range with the steepest slope filter to preserve headroom and get rid
of subsonic frequencies. 24-48 dB steep slopes work perfectly for the task with default
Q setting engaged.
BOTTOM 50-60 Hz
Boost 2-3 dB within 50-60 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 100-200 Hz
Try low Q-factor boosting within 100-200 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 200-500 Hz
Sweep 250-500 Hz band with Q set high enough to get 6-8 dB of gain resulting in a
resonant peak. Tweak the band knob while listening carefully – frequencies that sound
most dissonant should be attenuated carefully.
LOW-END 0-40 Hz
Highpass 20-40 Hz range with the steepest slope filter available to cut subsonic content
and preserve headroom 24-36-48 dB slopes work perfectly for the task (keep Q factor
set by default 0.71)
BOTTOM//WEIGHT 70-100 Hz
Boost 2-3 dB with wide Q within 70-100 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.
MUD/BOXINESS 250-500 Hz
Sweep 250-500 Hz band with Q set high enough to get 6-8 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/ATTACK 2-4 kHz
Check 2-4 kHz range if more click needed. Stay with moderate 2-3 dB boosts with bell
EQ curve. High shelf and tilt curves will also work for the purpose as well.
ENERGY 40-100 Hz
This is where you’ll find the most energy and sub power. Check 40-50 Hz for excessive
energy. Boost 40-100 Hz to add bottom. Manage this band of frequencies very
carefully.
BODY/PUNCH 100-200 Hz
Try low Q-factor boosting within 100-200 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 200-500 Hz
Sweep 250-500 Hz band with Q set high enough to get 6-8 dB of gain resulting in a
resonant peak. Tweak the band knob while listening carefully – frequencies that sound
most dissonant should be attenuated carefully. Boosts here can add presence.
MUD/BOXINESS 250-600 Hz
Sweep 145-500 Hz band with Q set high enough to get 6-8 dB of gain resulting in a
resonant peak. Tweak the band knob while listening carefully – frequencies that sound
most dissonant should be attenuated carefully. Mud mostly resides within 250-350 Hz
range.
• TOM
THUMP/BODY 100-300 Hz
Boost 100-300 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.
• SNARE
LOW END RUMBLE 0-120 Hz
Highpass carefully from 100 Hz upwards. 12-24 dB steep highpass filters may be used.
Use your ears and choose what sounds best.
BODY 200-400 Hz
This is the central area of sound in most snare drums. Most fundamental characteristics
live somewhere inside of this range. Boost 2-3 dB with wide Q within this range to
make the snare sound heavier.
RING 250-600 Hz
This range is responsible for the all-too-undesirable “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.
GONG/CLANK/CHINK 200-400 Hz
Highpass up to 400 Hz to get rid of “gong” sounds. Boost 200-300 Hz range slightly for
more “chink” but don’t overdo – as it may sound muddy.
AIR/BRIGHTNESS 6-15kHz
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 14-
15 kHz will bring more brightness, but be careful as too much can create an extremely
shrill tone.
LIVE INSTRUMENTS
• ELECTRIC BASS / BASS GUITAR
BODY/GIRTH 80-200 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 80-100 Hz. Basses that sound boomy may be cleaned up around 180-200 Hz.
MUD 250-500 Hz
Mud mostly resides within 250-500 Hz range. Try attenuating 3 dB at 200-220 Hz as a
starting point but be careful not to affect the low-mid girth negatively.
DEFINITION 400-800 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 700-900 Hz range will
bring more energy and power.
• ELECTRIC GUITAR
BODY/THICKNESS 150-300 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 300-1000 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 1-2 kHz
You may eliminate many of the harsh or “honky” characteristics of the tone with a
centered, wide cut within this range.
• ACOUSTIC GUITAR
WOOD 200-400 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 80-400 Hz
Reduce at 200 Hz to remove muddiness. Boost 200-400 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.
• PIANO
BODY/MUD 250-3kHz
Check 250-500 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.
• E-PIANO (RHODES)
BOOM/MUD 50-250 Hz
This range should be taken care of as a priority. Just like the acoustic piano, many of
the muddy, boomy sounds stem from 100-250 Hz range. A Rhodes/E-Piano has a dense
and rich low end which can become muddy very quickly if not properly cut.
PRESENCE 1500-2500 Hz
Boost 1.5-2 kHz a bit to add more presence and definition. Use wide Q factor.
ORCHESTRAL INSTRUMENTS
• STRINGS SECTION
WEIGHT/WARMTH/MUD 80-300 Hz
Boosting 80-100Hz will deliver more weight while 100-300 Hz more warmth. Check
200-500 Hz with resonating peak for muddiness.
• CELLO
MUD 200-300 Hz
Check 200-300 Hz for muddiness, cut it with narrow Q.
FULNESS 400-600 Hz
Try boosting 400-600 Hz to add more roundness and fullness.
• VIOLA
MUD/FULNESS 150-250 Hz
Search for mud within 150-250 Hz. Boost 180-240 Hz band to add more fullness, use
wide Q values.
• VIOLIN
WOODWINDS
• BASSOON
MUD 60-250 Hz
Carefully cut mud within the 60-250 Hz range with a moderate Q.
• CLARINET
MUD 140-300 Hz
Check 200-300 Hz range for muddiness. Cut with narrow Q factor.
• FLUTE
MUD 250-400 Hz
Check 250-400 Hz range for mud.
BRIGHTNESS 10-12kHz
Try boosting 10-12 kHz range with high shelf curve for brightness and presence.
• FLUTE PICCOLO
FULNESS 500-1000 Hz
Slightly boost around 500-1 kHz to add more weight.
• BRASS SECTION
LOW END 0-125 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 200-500 Hz
Check 200-500 Hz range for mud, boost 300-400 Hz with a moderate Q to bring
fullness.
• TUBA
FULLNESS 65-95 Hz
Try a slight boost at around 80 Hz to give the brass track a fuller, or “warmer” sound.
RESONANCES 450-550 Hz
Check 500 Hz range for resonances, cut with narrow Q factor.
• TROMBONE
• TRUMPETS
LOW END RUMBLE 0-200 Hz
Highpass up to 200 Hz depending on the mix.
• SAXOPHONE
HONK/MUD 120-400 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 240-400 Hz for mud. Boost 120-240 Hz range for fullness.
ELECTRONIC INSTRUMENTS
• BASS SYNTHS
• PAD SYNTHS
THICK 400-600 Hz
THICKNESS. Boosting 400-600 Hz range will add thickness. Be careful when layering
as this band may get cluttered easily.
• LEAD SYNTHS
MUD 160-450 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
250-450 Hz range.
VOCALS
LOW END RUMBLE 0 – 100 Hz
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 100-120 Hz to clean
things up (note that “P” plosives reside around 90-120Hz as a general rule).
PRESENCE 1500-2500 Hz
Boost 2-3 dB with wide or moderate Q within this range to add more presence and
character.