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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 will also find EQ charts
for almost all common instruments – from drums and vocal to acoustic guitar
and trumpets.
Keep in mind that these frequency charts are just the starting point and you
don’t have to follow them exactly. 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.
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GENERAL CHART
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.
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.
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GENERAL CHART 2
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.
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.
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GENERAL CHART 2
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.
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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.
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DRUMS
909 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.
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DRUMS
DANCE BASS DRUM
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.
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DRUMS
ACOUSTIC BASS DRUM
BODY/WEIGHT 90-145 Hz
This range is the body and meat of the kick sound. Boost 2-3 dB with wide Q
within 90-145 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/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.
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DRUMS
TOMS
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.
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DRUMS
SNARES
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.
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DRUMS
CYMBALS, HATS, RIDES, AND CRASHES
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.
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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.
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LIVE INSTRUMENTS
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.
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LIVE INSTRUMENTS
ACOUSTIC GUITAR
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.
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LIVE INSTRUMENTS
PIANO
BOOM/MUD/WARMTH 50-250 Hz
Mud usually comes from this range. Boost 150-250 Hz slightly if you want to
warm the instrument up. Boost around 80 – 120 Hz for fullness.
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.
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LIVE INSTRUMENTS
E - PIANO
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.
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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.
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ORCHESTRAL
INSTRUMENTS
CELLO
MUD 200-300 Hz
Check 200-300 Hz for muddiness, cut it with narrow Q.
FULLNESS 400-600 Hz
Try boosting 400-600 Hz to add more roundness and fullness.
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ORCHESTRAL
INSTRUMENTS
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.
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ORCHESTRAL
INSTRUMENTS
VIOLIN
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WOODWINDS
BASSOON
MUD 60-250 Hz
Carefully cut mud within the 60-250 Hz range with a moderate Q.
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WOODWINDS
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.
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WOODWINDS
FLUTE PICCOLO
FULNESS 500-1000 Hz
Slightly boost around 500-1 kHz to add more weight.
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WOODWINDS
BRASS SECTION
FULLNESS/MUD 200-500 Hz
Check 200-500 Hz range for mud, boost 300-400 Hz with a moderate Q to
bring fullness.
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WOODWINDS
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.
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WOODWINDS
TROMBONE
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WOODWINDS
TROMBONE
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WOODWINDS
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.
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ELECTRONIC
INSTRUMENTS
BASS SYNTHS
BODY/PRESSURE 60-250 Hz
Boost around 80 – 150 Hz for for more body and weight. Boost around 160 Hz
for extra pressure.
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ELECTRONIC
INSTRUMENTS
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.
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ELECTRONIC
INSTRUMENTS
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.
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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).
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