Here's what those levels are adjusting:

16Hz 60Hz = SUB BASS This is the super low-end that can be felt physically by
your body on a good subwoofer/sub-bass system. Sounds with these frequencies are
the most powerful ones, and they will take up a lot of room in the mix. Use this
range to fatten up your kick drums or sub-bass patches. Too much volume in this
range makes your mix sound muddy.
60Hz 250Hz = BASS This is where basslines and kick drums have their most
important sounds. A common problem is that the bassline and kick cancel each
other out due to PHASE problems (easily demonstrated when DJ-ing, if you play two
tracks and have them beatmatched, it's important to cut one of the tracks' bass
level or else the kick drums will cancel each other out and the overall bass level is
lowered). A useful trick then is to try PHASE INVERSION on either the bassline or the
kick drum, compressing the kick and bass together and/or avoiding to place a bass
note on top of a kick drum. This range should also be lowered in most other sounds
like guitars, synth lines and vocals so they don't interfere with the kick and bassline.
Too much volume here makes the mix sound boomy.
200Hz - 400Hz Too much volume here will cause vocals to sound muddy and
unclear. Cut this to thin out drum parts like snares, hi-hats, percussions and
cymbals, boost to make them sound warmer or more woody.
250Hz 2kHz = LOW MID or MID-LO Most instruments have their darkest parts
here; guitars, piano, synthlines. Boosting around 500Hz 1kHz can sound hornlike while boosting 1kHz 2kHz can sound metallic.
400Hz - 800Hz You can reduce some of these frequencies on the master mix to
make your overall bass level sound tighter. Boost or cut here to fatten up or thin out
the low end of guitars, synthlines and vocals.
800Hz 1kHz Here you can also fatten up vocals and make them sound warmer, in
a different way than the previously mentioned method. Boosting around 1kHz helps
add to the knocking sound of a kick drum.
1kHz 3kHz This is the edgy part of a sound, boost (gently!) here to define guitars,
pianos, vocals and add clarity to basslines. Cut here to remove painful midfrequencies in vocals. This frequency range is very hard on the ears, so be careful
not adding too much volume here!
2kHz 4kHz = HIGH MID or MID-HI Vocals have a lot of sound in this area, the
sounds B, M and V lie here.
3kHz 6kHz = PRESENCE Plucky, fingered guitars and basslines can be more
defined by boosting in this range. Cut in the lower part to remove the hard sound of

vocals. Cut in the upper part to soften/round off sounds, and boost to add more
clarity or presence to a sound. Boosting here helps defining most instruments and
vocals.
6kHz 10kHz = HIGH Boost this area to add more air and transparency to a sound.
Crispness and and sparkle can be added by boosting this range on guitars, strings
and synth sounds. Snares and bassdrums also benefits from boosting this area. In
vocals, cut some of these frequencies (a de-esser plugin does this easily) to remove
the hissing sounds. The sounds S and T lies between 6kHz and 8kHz and too
much volume there will make the vocals stressful on your ears.
10kHz 16kHz = HIGH This frequency range is where the crispness and brightness
of sounds lie, and hi-hats and cymbals are the dominant drum parts. You can boost
here to add even more air and transparency to sounds, and cut here to remove
noise and hissing sounds which is unwanted in a bassline, for example. Pads and
atmospheric sounds benefits from a boost in this range to make them sound
brighter. Be careful not to boost too heavily, or else the mix will sound noisy.
Below is a list of the EQ settings you can either enhance or diminish dependant
upon the sound of your piano track.

EQ Settings:
50Hz-100Hz Adds bottom (if you dont want to roll-off at a higher frequency, make
sure you cut-off at 50Hz, in order to remove any rumble)
100Hz-250Hz Adds roundness (roll-off to get rid of low end, which can negate
from any bass or kick drum frequencies you might have in the track. Dont roll-off at
much of a higher frequency as you still need some basic bass from the piano,
otherwise it can start to sound too airy)
250Hz-1kHz Muddiness area
1kHz-6kHz Adds presence (cut around -5dB to -9dB to disguise overlapping
frequencies with vocals/guitar)
6kHz-8kHz Adds clarity (boost around +2dB in order to add shine to the tracks,
this works especially well if the track has a piano solo section. Gives the piano
section more clarity and brightness)
8kHz-12kHz Adds hiss

Nady GEQ-215 2-Channel 15-Band Graphic

Equalizer

One of the finest graphic equalizers on the market today, the rackmountable GEQ215 was developed using the expertise of professional sound engineers and working
musicians. Manufactured for superior performance and flexibility, this compact and
durable all-steel chassis design provides optimum audio control for all live and
recording applications, plus ultimate operating convenience and maximum
reliability.

Features 2-channel, single rack space (1U)

15-2/3 octave bands each channel with 2/3 octave ISO spacing from 25Hz to 16KHz
Active-balanced (XLR and 1/4"TRS) input/output connectors
Constant Q bandwidth from each filter with 3% center frequency accuracy
Parallel filter design for minimal phase distortion
Ultra low-noise circuitry
Low-cut filter at 40Hz, 12dB/octave, switchable, with status LED
Band range: +/- 12dB gain
Center detents on faders
Variable input level control (+/-12dB)
Equalizer on/off bypass switch with status LED
Gain status LED bar-graph with peak LED
Power switch with integral LED ON indicator
Shielded internal power supply with AC input and selectable line voltage
(115V/60Hz or 230V/50Hz)