Try boosting at around 6 kHz to add more definition to vocal and guitar tracks. A wider Q will help to keep your boosts as natural as they can be. ... Justin, this was a really good strip down of the EQ. Play your track and ‘sweep’ the Q point from left to right across the frequencies. Be careful to not overrun that part of the spectrum with other instruments. This carries over from the cheat sheets on to the user interfaces on parametric equalizer plugins, the volumes bouncing on fader meters, the graphs of gain reduction on compressors, and more. Boosts here can add sharpness. HIGH FREQUENCIES 6-20 kHz Highpass up to 60-80 Hz to get rid of the subsonic content if genre requires it or if you have a separate sub bass track. Boost some decibels at 2 kHz for more, boost 2-4 kHz range slightly for extra bite and attack. Try attenuating 3 dB at 200-220 Hz as a starting point but be careful not to affect the low-mid girth negatively. Attenuate 2-4 kHz for softness. PRESENCE/CLICK 5-15 kHz Too much in the 1-2 kHz range make things sound tinny or horn-like. Electronic instruments can be complex when finding the fundamental because They generally create a broad range of frequencies and sounds. 4-6 kHz range is responsible for clarity and definition. STRING and BOW NOISES/ATTACK 1-4 kHz Boost 2.4 kHz for string noise and 4 kHz for bow noise. 2nd Master And Tweak On Fresh Ears 161 Highpass up to 400 Hz to get rid of “gong” sounds. LOW-END 0-40 Hz EQ, Compression, Reverb and Delay Cheat Sheets. PRESENCE 1500-2500 Hz KNOCK/ATTACK 2-4 kHz Lower this range to make kick drum sound darker. Tweak 2-5 kHz range for bringing string noises more to the front if that’s the desired effect. WARMTH / FULLNESS 500 – 1000 Hz Most sounds in this range are garbage, whether it be noise from handling the mic, vibrations from the floor or air conditioning units. MUD 160-450 Hz 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. If you need extra assistance, check out my Vocal Chain Collection, This vocal chain collection allows you to get my signature vocal preset setup and sound for mixing vocals with stock plugins. Low pass up to 500 Hz to make space for the bass in dense mixes. LOW END RUMBLE 0-120 Hz 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 high-pass filter. MUD 200-300 Hz EQ sweeping helps you pinpoint the exact frequencies you are trying to resolve. Don’t overdo as boosting too much will sound boomy. 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. Choosing the instruments by their frequencies before you begin, will make the mixing stage more manageable. Avoid boosts here. Boost 7-9 kHz to add clarity and breath. Boost 2-3 dB with wide Q within 70-100 Hz if more presence is needed, but don’t overdo it. 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. Check 200-300 Hz for muddiness, cut it with narrow Q. FULNESS 400-600 Hz Depending on the player’s sax, whether it be soprano or baritone, the low mid frequencies may be found here. However, doing an EQ sweep will help you isolate exact areas that might need boosting or cutting. Basses that sound boomy may be cleaned up around 180-200 Hz. Reduce 14-15 kHz to soften excess sharpness and make the sound warmer. BANG/SMACK 2-4 kHz Make your mixes shine with this information. LOW END/RUMBLE 0-50 Hz Using EQ is the first step to making your instruments play well together. The cracking sound made by the stick on the drum head is often around 8000 Hz. If features general charts that can be applied to any instrument and mix, and you will also find EQ charts for almost all common instruments – from drums and vocal to acoustic guitar and trumpets. Use wide Q values. BODY/SMACK 100-200 Hz If you are looking for an audio engineer to take on mixing and mastering your project, Mikes Mix & Master is here to help bring your vision to the next level, ensuring that your music is of the highest quality to give you a competitive advantage in the music industry. RING 250-600 Hz Sweep 250-500 Hz band with Q set high enough to get 6-8 dB of gain resulting in a resonant peak. Seeing where each instrument fits on the frequency spectrum will help you identify which instruments and frequencies might be fighting each other in your mix, and will help you get the best possible mix before that final mastering … BRIGHTNESS 10-12kHz The high-pass filter is usually used to eliminate low frequencies on your instruments with a higher frequency like a cymbal or snap. High shelf boosting of the 7-10 kHz band brings more creak of the bows while 8-12 kHz more sparkle and extra air. It will allow you to remove only what's needed. By making cuts on some instruments you can bring more clarity to the bass within the overall mix. Highpass up to 350-400 Hz. They will listen to the song as a whole only. 160 17. LOW END RUMBLE 0 – 100 Hz Boosting this range can add extra air and sparkle to your instrument or overall mix. If it still sounds off, try boosting around 10 kHz and 12kHz spots to achieve desired result. Listen carefully until the problem you need to resolve stands out. Boost 500-700Hz to add more warmth and 1kHz to bring more fullness. STRING NOISE 2-5 kHz Slightly boost 12-13 kHz range to accent breathing tones / overblow. TONE 10-20 kHz Boosting is how you can get experimental with EQing and bring some cool character out of your sounds. This chart is not a rule you must abide by, rather a great reference to get you started on understanding where your sounds sit in your mix, therefore, it should be used correspondingly. 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. Highpass carefully from 100 Hz upwards. PRESENCE 4 – 6 kHz 2. If you don't want to alter your instruments sound with EQ but you are still hearing some clashing in the mix, try panning one instrument to the right and the other to the left. Remember that all sounds contain critical information in high and low frequencies. The opposite goes for your low pass filter. Get assistance detecting the optimal frequency for any instrument within your mix with this useful easy infographic. This range should be taken care of as a priority. A tuba has a deep low sound so be careful with low end and cut only when needed. Use narrow Q factor. Mud mostly resides within 250-350 Hz range. It's always best to follow the best recording practices to get a clean recording before you start doing any mixing. Getting rid of subsonic content here preserves headroom. Boost around 160 Hz for extra pressure. Search within 250-600 Hz range for it. MUD 250 – 450 Hz Keep an eye on the meters, boosts in this range increase levels quickly, so be ready to adjust levels. Boosting 400 Hz will make it more readable at low listening levels while boosting 700-900 Hz range will bring more energy and power. This is where you’ll find the attack tones of percussive and rhythm instruments. BOOM / WARMTH / MUD 100-450 Hz That's what good mixing is about, specifically when it comes to EQ. Cut with narrow Q factor. Check 250-450 Hz range for muddiness. If you need to take out some rumble from a guitar stroke, sweep the EQ until you find where the rumble is most noticeable. FULLNESS 65-95 Hz 24-48 dB slopes work perfectly for such task (keep Q factor set by default 0.71). When it comes to EQing it’s very important to know the main frequency ranges and how they sound. Most times, the lower frequencies from sounds with a higher component and reverse can be rolled off. Instruments that struggle to cut through the mix may be adjusted here for more presence. Boost around 80 – 120 Hz for fullness. DEFINITION 400-800 Hz The 1.5-2.5 kHz range is responsible for tiny intricacies in chords and string-picking, but boosting it too far can make guitar sound aggressive and harsh. Boosting with a more narrow curve can make frequencies stand out in the mix. You should be careful boosting here, especially on vocal tracks. 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. Sweep 250-500 Hz band with Q set high enough to get 6-8 dB of gain resulting in a resonant peak. Your email address will not be published. Boosts in this range can make an instrument prominent in the mix. But don’t overdo, as you may thin out the sound. Check 240-500 Hz for muddiness. It doesn’t always fix the problem, however, panning is something you should be done in every mix anyway!