EQ CHEAT SHEET

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.

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.

LOW MID-RANGE 250 – 500 Hz

This range is usually called the bass presence range. Try a slight boost at around
300 Hz to add clarity to the bass and low frequency instruments. Too much in
this range make things sound muddy and boomy, while too little make them
sound thin.

MID-RANGE 500 – 2000 Hz

Boosts in this range can make an instrument prominent in the mix. Be careful
while mixing here as too much of 500-1 kHz can make your instrument sound
muddy, and too much of 1-2 kHz can create a tinny sound.

HIGH MID-RANGE 2-6 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 here can cause listener fatigue. 4-6 kHz range is responsible for
clarity and definition.

HIGH FREQUENCIES 6-20 kHz

Boosting this range can add extra air and sparkle to your instrument or mix.
Excess in this area can cause undesirable listener fatigue and create an extremely
shrill tone. Too much boost around the 6-8 kHz range tend to sound sibilant.

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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.

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.

HONK 450 – 1000 Hz

You may eliminate many of the harsh, “honky” and boxy characteristics of the
tone with a centered, wide cut in the 450-1 kHz range. By making cuts on some
instruments you can bring more clarity to the bass within the overall mix.

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.

KNOCK/CLICK/ATTACK 2-4 kHz

Check 2-4 kHz range if more click is needed. Stay within moderate 2-3 dB boosts
with bell EQ curve. High shelf and tilt curves will also work for this purpose as
well.

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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.

KNOCK/CLICK/ATTACK 2-4 kHz

Check 2-4 kHz range if more click is needed. Stay within moderate 2-3 dB boosts
with bell EQ curve. High shelf and tilt curves will also work for this purpose as
well.

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DRUMS
DANCE BASS DRUM

LOW END 0-40 Hz

Highpass 20-40 Hz range with 48 dB filter slope. Getting rid of subsonic content
here preserves headroom. 24-48 dB slopes work perfectly for such task (keep Q
factor set by default 0.71).

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.

PRESENCE/CLICK 5-15 kHz

Try boosting within 5-8 kHz range if more presence is needed, use moderate Q.
You can find the click sound of the attack around the 4-15 kHz range, a peaking
band works well here.

TONE 10-20 kHz

Boosts here can add sharpness. Lower this range to make kick drum sound
darker. Reduce 14-15 kHz to soften excess sharpness and make the sound
warmer.

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DRUMS
ACOUSTIC BASS DRUM

LOW END RUMBLE 0-40 Hz

Highpass 20-40 Hz range with 48 dB filter slope. Getting rid of subsonic content
here preserves headroom. 24-48 dB slopes work perfectly for such task (keep Q
factor set by default 0.71).

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.

KNOCK/ATTACK 2-4 kHz

Check 2-4 kHz range for the extra attack. Stay moderate with 2-3 dB bell curve
boosts (high shelf and tilt EQs will work nicely as well). Working on this area
provides a “bouncing basketball” type of ‘thwack’ tone.

AIR/CLICK 4-8 kHz

Try boosting 5-8 kHz range with high shelf curve if more presence is needed.
Keep watch on the 8-12 kHz band though as boosting there may add hiss. You
can find the click sound of the beater up around the 3-8 kHz range, a peaking
band works well here.

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DRUMS
TOMS

LOW END RUMBLE 0-100 Hz

Highpass carefully from 70 Hz upwards but don’t overdo, as you may thin out
the sound too much.

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.

ATTACK 3-5 kHz

This is where you’ll find the attack tones from the drumstick hitting the head of
the drum itself. Boost 3-4 kHz for extra bite.

PRESENCE/AIR 5-12 kHz

Boost 3-4 dB within 6-9 kHz band to accentuate stick hits.
2-3 dB high shelf boost within 5-12 kHz range will bring extra air and presence.

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DRUMS
SNARES

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.

BANG/SMACK 2-4 kHz

Boost some decibels at 2 kHz for more, boost 2-4 kHz range slightly for extra
bite and attack.

AIR/DEFINITION 6-10 kHz

Boosting 4-6 kHz range brings more air. If is still sounds off, boost 7-10 kHz
range slightly as that should bring extra definition. The cracking sound made by
the stick on the drum head is often around 8000 Hz..

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DRUMS
CYMBALS, HATS, RIDES, AND CRASHES

LOW END 0-200 Hz

Highpass 100-200 Hz to get rid of unnecessary low end.

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

LOW END RUMBLE 0-70 Hz

Highpass 30-70 Hz range to get rid of subsonic content and save headroom.

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.

ATTACK 1.2-1.5 kHz

Boosting 1.2-1.5 kHz range will bring out more attack while adding 2-3 dB at 3
kHz brings out more finger and fret noises. Try going further up to 5 kHz to
check for anything worth boosting. Don’t overdo unless you want the bassline to
dominate the mix.

STRING NOISE 2-5 kHz

Where the gliding sound of fingers across strings is found. This high frequency
can be attenuated to remove some of the shrill “shwoop” noises caused by
playing.

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LIVE INSTRUMENTS
ELECTRIC GUITAR

LOW END RUMBLE 0-120 Hz

Although every case is different, you can usually (safely) eliminate this band with
a high pass filter, as there typically aren’t any useful frequencies down here
besides ones that introduce flabby, boomy noise.

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.

PRESENCE/ATTACK/BRIGHTNESS 3-10 kHz

Boost around 3 kHz for extra attack on solo guitars but attenuate on riff guitar
parts. Attenuate 3-8 kHz band if the vocal is present. Boost 10-13 kHz range with
high shelf for extra brightness.

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LIVE INSTRUMENTS
ACOUSTIC GUITAR

LOW END RUMBLE 0 – 70 Hz

When mic’ing an acoustic, you’ll often find many of the boomy, explosive low-
end tones within this range. 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.
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.

WARMTH / FULLNESS 500 – 1000 Hz

Boost 500-700Hz to add more warmth and 1kHz to bring more fullness.

DEFINITION 1.5 – 2.5 kHz

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.

ATTACK/AIR 7-10 kHz

A slight shelf boost in this range will help an acoustic sound brighter and airier.
Boost around 5 kHz if more attack is needed and around 7 kHz for some
additional sparkle. If it still sounds off, try boosting around 10 kHz and 12kHz
spots to achieve desired result.

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LIVE INSTRUMENTS
PIANO

LOW END 0-50 Hz

Highpass 40-50 Hz range to get rid of subsonic content and save headroom.
This is an important setting if you mix bass heavy music.

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.

PRESENCE 3-5 kHz

Boosting here will brighten the instrument up and add presence. Beware of the
string damper noises that occupy this range unless it’s needed for a creative
reasons.

ATTACK 5-6 kHz

Boost 5-6 kHz if more attack is needed. Use wide Q values.

CLARITY 7-9 kHz

Boost 7-9 kHz to add clarity and breath. Use wide Q values.

SHARP 10-15 kHz

Boost the 10-11 kHz frequency range to add sharpness, cut to make it sound
darker. Reduce 14-15 kHz to soften excess sharpness and make the sound
warmer. Check 10-13 kHz for piano’s hammer noise and cut with a narrow Q
factor.

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LIVE INSTRUMENTS
E - PIANO

LOW END 0-50 Hz

Highpass 40-50 Hz to get rid of unnecessary low end.

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.

BARK 0.8-1 kHz

Bark and damper noises could create issues, so search for resonance frequencies
and attenuate 800-1 kHz range if this is the case.

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

LOW END/RUMBLE 0-50 Hz

Highpass 40-50 Hz to get rid of unnecessary low end.

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.

ATTACK 500-1 kHz

Boost 500-1 kHz to add more attack, attenuate the same range to soften it.

STRING NOISES/AIR 2-5 kHz

Tweak 2-5 kHz range for bringing string noises more to the front if that’s the
desired effect.

CREAK/SPARKLE 7-12 kHz

High shelf boosting of the 7-10 kHz band brings more creak of the bows while 8-
12 kHz more sparkle and extra air.

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ORCHESTRAL
INSTRUMENTS
CELLO

LOW END RUMBLE 0-80 Hz

High-pass 60-80 Hz to taste.

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.

PRESENCE 6-8 kHz

Boost 6-8 kHz a bit to add more presence and definition.

HARSH 14-20 kHz

Low-pass around 14-15 kHz for more distant timber and to reduce harshness if
needed.

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ORCHESTRAL
INSTRUMENTS
VIOLA

LOW END RUMBLE 0 – 100 Hz

High-pass to taste from 100 Hz upwards.

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.

STRING and BOW NOISES/ATTACK 1-4 kHz

Boost 2.4 kHz for string noise and 4 kHz for bow noise. To enhance the attack,
boost 500-1 kHz. To soften, attenuate within the same range.

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ORCHESTRAL
INSTRUMENTS
VIOLIN

LOW END RUMBLE 0 – 100 Hz

Highpass to taste from 100 Hz upwards to get rid of unnecessary low end and
rumble.

MUD / FULLNESS 100 – 250 Hz

Check for muddiness within 150-250 Hz. Boost the 200-350 Hz range for
fullness, use wide Q values.

STRING NOISES / BOW NOISES 2 – 10 kHz

Boost around 2.4 kHz for string noise and 7-10 kHz if more scratchiness needed.

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WOODWINDS
BASSOON

LOW END RUMBLE 0 – 60 Hz

High-pass from 50-60Hz upwards to get rid of unnecessary low end.

MUD 60-250 Hz
Carefully cut mud within the 60-250 Hz range with a moderate Q.

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WOODWINDS
FLUTE

LOW END RUMBLE 0-250 Hz

High-pass up to 200-250 Hz.

MUD 250-400 Hz
Check 250-400 Hz range for mud.

SOFTNESS 2-4 kHz

Attenuate 2-4 kHz for softness.

BRIGHTNESS 10-12kHz
Try boosting 10-12 kHz range with high shelf curve for brightness and presence.

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WOODWINDS
FLUTE PICCOLO

LOW END RUMBLE/MUD 0-300 Hz

High-pass up to 350-400 Hz.

FULNESS 500-1000 Hz
Slightly boost around 500-1 kHz to add more weight.

SOFTNESS 2-4 kHz

Attenuate 2-4 kHz for softness.

BREATH 5-6 kHz

The 5-6 kHz frequency range can be attenuated to remove some of the airy and
breathy sounds.

BRIGHTNESS 10-12 kHz

Boost 10-12 kHz for brightness if needed. Be careful to avoid making the sound
shrill.

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WOODWINDS
BRASS SECTION

LOW END 0-125 Hz

High-pass up to 125 Hz to get rid of unnecessary low end and mud. But don’t
overdo, as you may thin out the sound.

FULLNESS/MUD 200-500 Hz
Check 200-500 Hz range for mud, boost 300-400 Hz with a moderate Q to
bring fullness.

ROUNDNESS 1-5 kHz

Boosting around the 800-1 kHz spot will add roundness. You can also try
boosting at 5 Hz to add a brighter tone.

BRIGHTNESS / DEFINITION 5-10 kHz

Manage this band of frequencies carefully. Dark sounding horns can be
brightened up and made lively in this range, but too much can also destroy a
mix with shrill and harsh high-end. High shelf boost around 5-8 kHz will add
definition.

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WOODWINDS
TUBA

LOW END 0-80 Hz

A tuba has a deep low sound so be careful with low end and cut only when
needed.

FULLNESS 65-95 Hz
Try a slight boost at around 80 Hz to give the brass track a fuller, or “warmer”
sound.

MUD 150 – 250 Hz

Check 150-250 Hz range for mud, cut with narrow Q factor.

RESONANCES 450-550 Hz
Check 500 Hz range for resonances, cut with narrow Q factor.

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WOODWINDS
TROMBONE

LOW END RUMBLE / FULLNESS / MUD 0-250 Hz

High-pass up to 100 Hz. Boost the 100-200 Hz frequency range to add fullness.
Attenuate at 100-200 Hz if band overlaps with more important low-mid range
instruments. Bass trombone should be processed carefully as you may thin out
the sound too much.

BRIGHTNESS / OVERBLOW 4-10 kHz

Boost 4-8 kHz to add brightness. Tweak 8-10 kHz to accentuate overblow.

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WOODWINDS
TROMBONE

LOW END RUMBLE 0-200 Hz

High-pass up to 200 Hz depending on the mix.

FULLNESS / MUD 200-500 Hz

Check 240-500 Hz for muddiness. Boost 180-240 Hz for fullness.

BRIGHTNESS 4-5 kHz

Check 4-5 kHz for excessive brightness and piercing overtones.

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WOODWINDS
SAXOPHONE

LOW END RUMBLE 0-100 Hz

High-pass up to 100 Hz.

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.

SQUAWK 1-2 kHz

Depending on the type of sax used, this range can be responsible for the harsh
tones of the instrument – cutting removes some of the shrillness and painful
attack tones.

REED NOISE 5-7 kHz

The thin piece of vibrating wood, known as the reed, can sometimes make a
specific vibration tone. You can usually find this undesirable sound somewhere
near this range. Check 6 kHz for reed noise and cut with a narrow Q factor.

OVERBLOW 11-14 kHz

Slightly boost 12-13 kHz range to accent breathing tones / overblow.

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ELECTRONIC
INSTRUMENTS
BASS SYNTHS

LOW END RUMBLE 0 – 80 Hz

High-pass 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.

BODY/PRESSURE 60-250 Hz
Boost around 80 – 150 Hz for for more body and weight. Boost around 160 Hz
for extra pressure.

MUD / WARMTH 250 – 500 Hz

Carefully cut mud within the 250-500 Hz range. Boost 250 Hz to add more
warmth. Listen solo’d and in the mix.

PRESENCE 2-3 kHz

Boost the 2-3 kHz range to add more presence.

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ELECTRONIC
INSTRUMENTS
PAD SYNTHS

LOW END 0 – 160 Hz

High-pass up to 160 Hz according to your sound design concept. Low pass up to
500 Hz to make space for the bass in dense mixes.

MUD 250 – 450 Hz

Check 250-450 Hz range for muddiness. Try 2-3db cut depending on the mix.

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

LOW END RUMBLE 0-160 Hz

High-pass 80-160 Hz to taste and use good sound design judgement.

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.

CHARACTER 1-2 kHz

Most attributes of synths can be found here, so cutting or lifting certain
frequencies within this range can help it to either stick out or hide away. Mix as
appropriate to the individual synth / patch.

PRESENCE 2-3 kHz

Boost 1-2 kHz range to add more grit and to help the instrument cut through the
mix.

CLARITY 3-4 kHz

Just like the guitars and vocals, you can find the exciting, airy tonal
characteristics here. Boost 3-4 kHz range to add excitement and clarity. Just like
the other instruments as well, too much can be shrill and unpleasant.

SHARPNESS 7-9 kHz

Boost the 7-9 kHz frequency range to add more sharpness and clarity, use wide
Q factor.

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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).

MUD 200 – 500Hz

Try 3-4 dB cuts within the 325-350 Hz range on male vocals. Boost at 200 Hz
can sometimes add fullness. 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.

HONKINESS/NASALITY 800 – 1500 Hz

Boosting these frequencies can help make some singer’s lyrics more intelligible.
Cuts in 800-1,5 kHz range can reduce honkiness or boxiness. Use narrow Q
factor.

PRESENCE 2.5 – 4.5 kHz

You can add energy, buzz and definition to a vocal track right around 3 kHz. It’s
important to be careful here as too much of this band can make vocals actually
painful to listen to. Use with care. Try a narrow cut in the 2.5 kHz to 4 kHz range
to soften vocals.

CLARITY 5-10 kHz

Gentle boost in 5-10 kHz range may add extra presence to a dull vocal. Check
this range for sibilance, most de-essers handle this range.

AIR 10-16 kHz

To add more air do high shelf boost around 10 kHz but don’t overdo. Let your
ears rest and listen to it the next day to make sure you really need it. Cuts in this
range reduce the “s” sound.

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